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Plate  XXI 


Plate  XXI 


The  Art  of 

Polychromatic  Decorative 

Turning 

A  Practical  Manual  for  the  Professional 
and  Amateur  Turner 


BY 

GEORGE  ASHDOWN  AUDSLEY,  LL.D. 

ARCHITECT 

AUTHOR  OF  “THB  ORNAMENTAL  ARTS  OF  JAPAN,"  “THE  PRACTICAL  DECORATOR,"  ETC. 

AND 

BERTHOLD  AUDSLEY,  Architect 


ILLUSTRATED  WITH  TWENTY-ONE  PLATES 


BOSTON 

SMALL,  MAYNARD  AND  COMPANY 
PUBLISHERS 
1916 


i--!5  ’ 

*  '  •  j  3>j  'A  V‘-  : 


PREFACE 


NO  apology  is  necessary  for  the  production  of 
the  present  manual,  devoted  as  it  is  to  the 
full  description  of  the  practically  new  and  certainly 
the  most  beautiful  branch  of  the  wood-turner’s  art. 

We  trust  the  subject  will  be  found  written  and 
illustrated  in  a  manner  calculated  to  attract  and 
instruct  all,  and  especially  amateurs,  who  take  an 
interest  in  the  fascinating  art  of  ornamental  turning. 

We  have  endeavoured  to  make  every  step  in  the 
processes  described  perfectly  clear  to  the  reader,  and 
we  think  that  the  numerous  illustrations  will  be 
found  of  practical  and  suggestive  value. 

G.  A.  A.  and  B.  A. 


CONTENTS 


CHAP.  PAGE 

I.  Introductory  3 

II.  Coloured  Woods  Suitable  for  Decorative 

Turning  .  .  .  .  .  .  .  17 

III.  Decoration  by  the  Process  of  Studding  .  .  33 

IV.  Decoration  by  the  Process  of  Lamination  .  53 

V.  Decoration  by  the  Process  of  Geometrical 

Inlaying . 77 

VI.  The  Practical  Application  of  Polychromatic 

and  Decorative  Turning  .....  101 


vii 


LIST  OF  ILLUSTRATIONS 


PLATES 

I.  and  II. — Illustrating  the  Process  of  Studding 

III.,  IV.  and  V. — Illustrating  the  Process  of  Lami¬ 
nation 

VI.  to  XV.  and  XXI. — Illustrating  the  Process  of  Geo¬ 
metrical  Inlaying 

XVI.  to  XX.— Illustrating  the  Practical  Application  of 
the  Several  Processes  Described  in  the  Manual 


ILLUSTRATIONS  IN  TEXT 

PAGE 

A  Rod  of  Turned  Studs,  and  Template  .  .  .41 

Section  of  a  Laminated  Cylinder  showing  Con¬ 
struction  .  ..71 

Illustration  of  a  Cylinder  Longitudinally  Lami¬ 
nated  . 73 

Diagrams  showing  the  Construction  of  an  Inlaid 


Medallion 


IX 


85 


CHAPTER  I 


INTRODUCTORY 


THE  ART  OF  POLYCHROMATIC 
AND  DECORATIVE  TURNING 


CHAPTER  I 

INTRODUCTORY 

Notwithstanding  the  great  attention  that 

has  been  paid  to  the  art  of  turning,  both 
by  skilled  professional  and  amateur  lathe-men ;  not¬ 
withstanding  the  immense  amount  of  ingenuity  and 
patience  that  has  been  expended  by  those  throughout 
the  country  who  have  made  the  turning  of  wood 
and  ivory  their  favourite  hobby ;  and  notwithstanding 
the  truly  ingenious  and  marvellously  accurate  auto¬ 
matic  appliances  and  accessories  connected  with  the 
lathe,  which  have  long  been  at  the  service  of  the 
turner  who  is  fortunate  enough  to  be  able  to  ac¬ 
quire  them — costly  as  they  invariably  are, — and  the 
mass  of  elaborate  work  that  has  been  the  product 
of  them,  there  still  remains  a  fertile  and  practically 
unworked  field  for  the  essays  both  of  the  professional 
and  of  the  amateur  turner  endowed  with  ordinary 
manipulatory  skill,  and  (what  is  of  equal  importance) 


4 


DECORATIVE  TURNING 


artistic  taste  and  a  keen  appreciation  of  the  har¬ 
monies  of  colour,  and  their  values  in  a  decorative 
direction. 

That  the  highly  ornamental  and  decorative  turnery, 
to  the  practical  description  and  illustration  of  which 
the  present  manual  is  devoted,  seems  to  be  either 
unknown  or  totally  neglected  by  even  the  most 
expert  and  enthusiastic  turners  of  this  country,  was 
forcibly  pressed  on  our  notice  while  surveying  the 
Exhibition  held  by  the  Worshipful  Company  of 
Turners  in  the  Mansion  House,  London,  in  October, 
1910.  Neither  in  this  nor  in  any  other  exhibi¬ 
tion  of  the  turner’s  art  that  has  come  under  our 
notice,  has  there  been  a  single  specimen  of  the  class 
of  artistic  and  decorative  turning  which  we  have 
recently  had  the  privilege  of  bringing  into  public 
notice— apparently  for  the  first  time  in  the  history 
of  turning — in  the  pages  of  the  English  Mechanic 
and  World  of  Science;  and  which  we  have  the 
opportunity  of  again  doing,  in  a  more  extended  and 
much  more  fully  illustrated  manner,  in  this  treatise. 

In  the  Exhibition  above  alluded  to  there  were 
many  admirable  specimens  of  ordinary  plain  turning, 
and  a  few  ambitious  pieces,  showing  very  accurate 
automatic  turning  and  expert  manipulation  of  the 
turning-tools ;  but  each  of  these  was  executed  in 
a  single  wood  only  and  that  of  a  somewhat  sombre 
colour,  and,  accordingly,  could  lay  but  little,  if  any, 


INTRODUCTORY 


5 


claim  to  be  effective  from  a  decorative-art  point 
of  view.  We  did  not  observe  a  single  exhibit  in 
which  even  two  woods  of  contrasting  colours  were 
associated.  Of  purely  mechanical  turning  there  were 
a  few  very  elaborate  specimens — chiefly,  as  usual, 
in  ivory — showing  the  great  excellence  of  the  high- 
class  lathe  of  to-day,  with  its  wonderful  array  of 
complicated  chucks  and  automatic  cutting  tools. 

As  we  have  substantially  said  elsewhere,1  when 
one  examines  the  many  complex  designs  or  patterns 
produced  through  the  agency  of  the  several  ingenious 
chucks  — the  “Geometric,”  the  “Eccentric,”  the 
“  Oval,”  the  “  Compound  Eccentric  and  Oval,”  &c., 
— with  or  without  the  “  Rose  Engine,”  one  cannot 
help  marvelling  at  the  perfection  to  which  the 
mechanician  has  brought  such  lathe-accessories,  while 
the  labour  of  the  operator  of  these  and  the  atten¬ 
dant  automatic  tools  is  practically  overlooked :  here 
it  is  the  lathe  with  the  man,  not  the  man  with  the 
lathe.  Other  objects,  usually  of  ivory,  due  in  their 
formation  and  enrichment  to  different  chucks,  and 
revolving  cutters,  held  in  the  slide-rest,  and  actuated 
by  the  overhead  motion,  are  usually  of  the  flimsiest 
and  most  inartistic  forms.  These  may  properly  be 
classed  as  curiosities  of  the  lathe,  of  no  real  practi¬ 
cal  value,  which,  from  their  liability  to  be  injured 
and  their  certainty  to  accumulate  dust,  require  to 
1  English  Mechanic ,  February  io,  1911. 


6 


DECORATIVE  TURNING 


be  kept  under  glass  shades.  We  do  not  desire 
to  unduly  disparage  such  accurate  and  ingenious 
mechanical  work,  although  it  does  not  appeal  to  such 
artistic  sense  as  we  possess,  but  we  maintain  that 
there  is  a  wider  and  far  more  interesting  style  of 
work  for  the  man  and  the  lathe ,  which  has  yet  to  be 
fully  developed  by  the  artistic  and  skilful  turner. 
We  feel  guaranteed,  from  practical  experience,  in 
asserting  that  the  class  of  ornamental  and  decorative 
turning  alluded  to  is  the  most  artistic,  beautiful, 
and  useful  of  all  the  more  elaborate  products  of 
the  wood-lathe.  However  elaborate  and  perfect  in 
detail  and  execution  a  piece  of  turned  work  in  ivory 
or  any  single  wood  may  be,  it  cannot  fail  to  be  more 
or  less  ineffective  from  a  decorative-art  point  of 
view ;  in  fact,  the  more  elaborate  and  minute  its 
surface  details  are,  the  less  will  it  commend  itself,  save 
perhaps  as  a  proof  of  the  excellence  of  the  purely 
mechanical  movements  and  tools  employed  in  its 
execution. 

There  is  one  highly  favourable  condition  connected 
with  the  production  of  the  class  of  ornamental  work 
treated  of  in  the  present  manual,  namely,  that  it  does 
not  in  any  case  call  for  the  employment  of  an  ex¬ 
pensive,  high-class  lathe,  with  its  complex  mechanical 
accessories  already  mentioned  :  on  the  contrary,  very 
beautiful  and  highly  decorative  work,  such  as  is  illus¬ 
trated  in  our  plates,  can  be  readily  executed  on  the 


INTRODUCTORY 


7 


simplest  lathe  used  for  wood-turning,  supplemented 
by  a  few  keen-cutting  brace-bits.1  It  goes  without 
saying,  however,  that  the  possessors  of  more  com¬ 
pletely  equipped  lathes  enjoy  a  great  advantage  over 
their  less  favoured  brothers  in  the  art ;  for  while 
those  who  may  be  the  possessors  of  simple  lathes 
will  have  to  be  content  to  work  within  somewhat 
circumscribed  limits — at  least  in  certain  processes, — 
and  will  have  to  depend  very  largely  on  accuracy 
of  eye  and  dexterity  of  hand  in  the  production  of 
truly  artistic  works,  the  favoured  possessors  of  ex¬ 
pensive  lathes,  furnished  with  all  the  modern  divid¬ 
ing  and  mechanical  cutting  appliances,  have,  it  must 
be  admitted,  a  practically  boundless  field  for  their 
labours,  in  which  accuracy  of  eye  and  great  manual 


1  In  support  of  this  statement,  it  may  be  mentioned  that  the 
late  William  James  Audsley,  who  may  be  said  to  have  been  the 
father  of  this  style  of  turning  in  perhaps  its  highest  decorative 
development,  executed  all  his  elaborate  work  on  a  very  simple  and 
inexpensive  lathe,  with  the  ordinary  hand-rest  and  turning-tools, 
and  the  common  brace  and  centre-bits.  Among  his  works  are  a 
set  of  large  candlesticks,  of  a  Gothic  form,  executed  in  about  half- 
a-dozen  woods  of  different  contrasting  colours,  inlaid,  studded  with 
ivory,  and  enriched  with  precious  stones.  Also  a  series  of  about 
two  dozen  large  circular  medallions  of  elaborate  geometrical  inlaid 
woods  and  ivory,  each  containing  in  its  centre  a  large  precious 
stone — carbuncles,  amethysts,  and  topazes,  cut  en  cabuchoti,  being 
used — which  decorated  the  oak  case-work  of  a  small  chamber  organ 
in  the  possession  of  the  late  James  Lord  Bowes,  of  Liverpool. 
Precious  stones,  of  course,  do  not  in  any  sense  belong  to  this  class 
of  turnery,  but  the  fact  that  in  these  instances  they  were  deemed 
appropriate  additions,  surely  goes  far  to  prove  the  beauty  of  the 
turned  work  which  formed  their  artistic  settings. 


DECORATIVE  TURNING 


dexterity  are  but  little  called  into  play.  But  there 
are  other  senses  or  acquirements  which  are  as  neces¬ 
sary  to  success  in  the  art  now  under  consideration 
as  are  accuracy  of  eye  and  dexterity  of  hand,  and 
these  cannot  be  denied  the  possessor  of  the  humblest 
lathe,  nor  can  they  be  bought  along  with  the  most 
expensive  lathe  procurable  to-day,  should  the  pur¬ 
chaser  not  possess  them  by  nature  or  cultivation. 
We  allude,  in  the  remarks  just  made,  to  the  sense 
of  form  and  beauty,  absolutely  essential  in  the  pre¬ 
paration  of  satisfactory  designs ;  and  the  sense  of 
colour-harmony,  equally  essential  in  the  artistic 
arrangements  or  combinations  of  the  coloured  woods 
which  form  the  palette  of  the  turner.  It  cannot 
for  a  moment  be  questioned  that  an  artistic  appre¬ 
ciation  of  form,  suitable  for  any  article  contem¬ 
plated,  and  a  true  sense  of  the  value  of  colour  in 
its  harmonies  of  analogy  and  contrast,  are  all-impor¬ 
tant  factors  in  the  successful  production  of  works 
of  ornamental  and  decorative  art,  and  especially  so  in 
the  case  of  such  works  produced  through  the  more 
or  less  mechanical  operations  of  the  turning-lathe. 

Second  only  in  importance  to  the  possession  of  a 
good  steady-working  lathe,  and  the  ordinary  turning 
and  boring  tools  already  alluded  to,  is  the  acquisi¬ 
tion  of  a  suitable  selection  of  coloured  woods  ;  for 
without  the  latter  the  decorative  turner  will  find  it 
difficult  to  produce  works  of  much  variety  in  their 


INTRODUCTORY 


9 


colouring,  or  artistic  excellence  in  colour-combinations. 
It  is,  fortunately,  not  absolutely  necessary  that  he 
should  have  a  great  number  of  the  different  woods 
at  his  disposal ;  but  it  is  almost  imperative  that  he 
should  have  a  collection  presenting  the  most  vividly 
contrasting  colours  possible,  ranging  from  the  soft 
white  of  holly,  through  the  available  tints  of  yellow, 
orange,  red,  purple,  green,  and  brown,  to  the  intense 
black  of  the  choicest  Mauritius  ebony.  Woods 
affording  these  tints,  of  a  more  or  less  pronounced 
character,  number,  according  to  the  list  given  in  the 
following  chapter,  thirty-six.  To  these  may  be 
added  African  black-wood,  iron-wood,  lignum  vitae, 
log-wood,  Brazil-wood,  olive-wood,  partridge-wood, 
pheasant-wood,  yew-tree,  and  yellow-wood.  Neither 
these  nor  all  of  the  woods  described  in  the  following 
chapter  are  by  any  means  necessary  in  the  hands  of 
the  most  ambitious  turner,  nor  are  they  required 
for  the  execution  of  the  most  elaborate  work  that 
could  well  be  devised.  It  will  be  seldom  that  more 
than  six  different  woods  will  be  called  for  in  the 
richest  work :  in  this  matter,  good  taste  should 
always  dictate  the  proper  reserve.  Ivory,  we  may 
remark,  should,  on  account  of  its  intense  whiteness, 
be  used  very  sparingly,  and  then  only  for  the  pro¬ 
duction  of  sharp  effects  in  colour  combinations  :  this 
condition  is  a  gain,  because  of  its  great  cost  in  pieces 
of  large  size. 


IO 


DECORATIVE  TURNING 


Apart  from  the  ordinary  processes  employed  in 
plain  turning,  in  which  only  one  kind  of  wood  is 
used,  the  processes  which  have  to  be  resorted  to  in 
the  production  of  works  of  ornamental  and  decora¬ 
tive  turning  are  properly  grouped  under  three  prac¬ 
tically  distinct  treatments,  all  of  which  may  be  used 
separately,  or  in  any  desirable  combination,  according 
to  the  design  and  character  of  the  article  in  the 
construction  and  decoration  of  which  they  are  to  be 
employed. 

The  first,  and  at  the  same  time  the  simplest  and 
easiest  treatment  or  mode  of  decorative  turning  is 
that  which  may  be  correctly  designated  Studding:  this 
is  appropriately  employed  for  the  ornamentation  or 
effective  enrichment  of  flat  bands  and  rings,  small 
surfaces  of  suitable  form,  and,  but  more  rarely,  certain 
salient  members  of  important  mouldings.  As  is 
more  fully  explained  in  Chapter  III.,  studding  may 
be  simple  or  compound,  or,  in  other  words,  plain  or 
pattern.  It  is  simple  or  plain  when  it  consists  of  a 
succession  of  studs,  of  the  same  size,  arranged  in 
a  direct  line  on  a  band,  ring,  or  moulding,  or  singly 
on  any  surface.  It  is  the  latter  when  the  studs  are 
of  the  same  or  different  sizes,  so  arranged  on  any 
surface  as  to  form  patterns  or  devices.  Studding 
may  also  be  flat  (that  is,  inserted  flush)  or  raised ; 
and  it  should  invariably  be  of  a  colour  contrasting 
with  that  of  the  ground  on  which  it  appears  :  otherwise 


INTRODUCTORY 


1 1 


it  is  very  ineffective.  Perhaps,  on  this  account,  ivory 
may  find  in  this  form  of  decoration  its  most  legiti¬ 
mate  introduction.  Studding  can  be  used  alone  or  in 
association  with  either  of  the  other  treatments. 

The  second  treatment  or  mode  of  decorative 
turning  is  that  which  we  have  designated  Lamination : 
this  is  variously  employed  in  the  production  of  colour- 
effects  in  mouldings  and  plain  cylindrical  and  other 
suitable  surfaces,  and,  occasionally,  for  the  effective 
rendering  of  special  ornamental  features.  In  this 
mode  of  decoration,  the  harmonious  arrangement  of 
colour,  both  in  contrast  and  analogy,  is  of  the  greatest 
importance ;  and  in  its  practice  there  may  be  said 
to  be  practically  no  limit  to  the  exercise  of  the 
taste  and  ingenuity  of  the  turner  in  the  selection 
and  combination  of  the  coloured  woods  at  his  dis¬ 
posal.  Even  the  arrangements  of  only  three  or 
four  properly-contrasted  woods  need  never  fail  of 
producing  beautiful  decorative  effects. 

Though  the  few  processes  employed  in  this  mode 
of  decorative  turning  are  not  so  easy  as  those  neces¬ 
sary  in  studding,  they  present  no  difficulties  to  even 
the  amateur  who  is  fairly  skilled  in  the  use  of  the 
lathe.  All  the  processes  are  simple,  only  calling  for 
accuracy  of  manipulation,  ordinary  care,  and  patience. 
No  appliances  are  necessary  beyond  those  furnished 
by  the  simplest  form  of  wood-lathe,  and  such  tools 
as  are  commonly  found  on  the  bench,  and  a  simple 


12 


DECORATIVE  TURNING 


hand-screw  for  glueing-up.  Notwithstanding  these 
facts,  lamination,  when  properly  executed,  and  with 
harmonious  colouring,  imparts  to  the  plainest  cylin¬ 
drical  surface  a  very  beautiful  and  highly  decorative 
character.  All  details  respecting  the  process  of 
lamination,  assisted  by  illustrations,  are  given  in 
Chapter  IV. 

The  third  treatment  or  mode  of  decorative  turning 
may  be  designated  Geometrical  Inlaying ,  being  based, 
in  all  its  practical  forms  or  designs,  on  combinations 
of  the  circle  and  portions  of  the  circle  disposed  geo¬ 
metrically  :  in  these  combinations,  harmonious  colour¬ 
ing  has  to  play  an  important  part.  This  mode  of 
decoration  is  best  and  most  legitimately  displayed  in 
the  shape  of  circular  plaques  or  medallions,  containing 
the  inlaid  devices  executed  in  choice  woods  of  har¬ 
monious  colours,  such  devices  being,  in  every  one  of 
their  constituent  parts,  products  of  the  lathe.  The 
medallions  so  produced,  when  inlaid  flush  or  very 
slightly  in  relief,  form  beautiful  and  refined  orna¬ 
ments  or  decorations  for  various  articles  of  household 
furniture,  or  other  objects  produced  in  the  lathe  ;  and 
the  tasteful  and  ingenious  turner  can  by  their  means 
elevate  even  the  simplest  and  plainest  of  such  articles 
into  veritable  works  of  decorative  art.  This  subject 
is  treated  very  fully  in  Chapter  VI.  Although  the 
processes  of  geometrical  inlaying  are  somewhat  more 
difficult  and  more  tedious  than  those  of  the  two 


INTRODUCTORY 


i3 


modes  of  decorative  turning  already  described,  and 
although  higher  designing  powers,  combined  with 
accurate  draughtsmanship,  are  called  into  practice  in 
the  preparation  of  the  geometrical  designs,  the  results 
fully  repay  all  the  thought  and  labour  expended.  A 
full  dissertation  on  this  most  interesting  method  of 
decorative  turning,  accompanied  by  an  ample  series  of 
illustrations,  will  be  found  in  Chapter  V.  We  direct 
the  reader’s  attention  specially  to  Plate  XXI.,  in 
which  are  given  photographic  engravings — by  the 
three-colour  process — of  two  medallions,  actually  exe¬ 
cuted,  in  the  lathe,  by  an  accomplished  amateur. 


CHAPTER  II 


COLOURED  WOODS  SUITABLE  FOR 
DECORATIVE  TURNING 


CHAPTER  II 


COLOURED  WOODS  SUITABLE  FOR 
DECORATIVE  TURNING 

THE  present  chapter  is  devoted  to  the  names  and 
properties  of  the  coloured  woods  suitable  for 
the  use  of  the  turner,  and  for  the  production  of  the 
class  of  artistic  turnery  described  in  the  present 
manual.  As  the  painter,  before  painting  a  picture, 
“  sets  his  palette  ”  with  all  the  colours  necessary  for 
his  work,  so  must  the  turner  set  his  palette,  so  to 
speak,  with  the  selection  of  coloured  woods  necessary 
for  the  effective  rendering  of  the  decorative  pictures 
he  desires  to  paint  in  the  lathe.  The  following  classi¬ 
fied  list  will  assist  him  in  developing  his  colour- 
schemes  according  to  his  requirements. 


Black  Wood 

Ebony. — This  is  practically  the  only  really  black 
wood  suitable  for  the  art  of  the  turner,  and  as  it  is 
easily  procurable  of  good  quality  and  of  sufficient  size 
for  all  ordinary  purposes,  it  may  be  considered  one  of 
the  most  valuable  and  indispensable  woods  for  the 
class  of  turnery  now  under  consideration.  There'  are 


i8 


DECORATIVE  TURNING 


different  qualities  of  ebony  in  the  market,  but  the 
Mauritius  ebony,  which  is  the  blackest  in  colour  and 
the  closest  and  finest  in  grain,  should  alone  be  used. 
Even  this  kind  should  be  carefully  selected ;  all 
pieces  containing  grey  streaks  or  imperfections  of 
any  sort  should  be  rejected.  Fine  black  ebony  is 
most  effective  in  every  branch  of  decorative  turning, 
as  will  be  realised  on  reference  to  the  illustrations 
given  in  this  manual. 

Purplish  Woods 

Rose-wood. — Of  this  well-known  wood  only  the 
closest-grained  kind  should  be  selected  by  the  turner, 
while  its  colour  should  be  of  an  intense  purple,  closely 
approaching  black.  This  wood  is  chiefly  valuable 
for  large  surfaces  in  which  a  somewhat  softer  effect 
is  desired  than  can  be  furnished  by  black  ebony. 
Rose-wood  can,  however,  be  used  instead  of  ebony 
in  many  details;  it  also  forms  a  very  pleasing 
ground  for  bright  inlays. 

Purple-wood  or  Amaranthus.- — A  Brazilian  wood 
which  has  the  peculiarity  of  rapidly  changing  its 
original  colour.  When  freshly  cut  or  turned  it  has  a 
dark  gray  tint,  but  this  ineffective  colour  changes  by 
exposure  to  a  deep  purple.  The  turner  who  uses  this 
wood,  on  account  of  this  purple  colour,  should  test  it 
thoroughly  by  exposure  to  air  and  light,  so  as  to  satisfy 
himself  as  to  its  conduct.  If  the  result  is  satisfactory, 


COLOURED  WOODS 


19 


and  the  wood  assumes  a  somewhat  pronounced  purple 
tint,  the  turner  will  find  it  very  valuable  as  an  effective 
contrast  to  the  brighter  yellow  woods. 

Kinr-wood  or  Violet-wood. — This  is  another  wood 

o 

imported  from  Brazil.  It  is,  when  of  the  best  quality, 
one  of  the  most  beautiful  of  the  coloured  woods. 
It  is  richly  streaked  with  violet  markings  of  different 
depths  of  tone,  and  is  a  most  desirable  wood  in  the 
hands  of  the  decorative  turner.  When  used  for  inlay¬ 
ing,  the  direction  of  its  markings  should  receive  due 
consideration.  Choice  pieces  cannot  be  obtained  much 
above  two  inches  in  diameter. 


Reddish  Woods 

Ruby-wood  or  Red  Saunders. — A  valuable  red  wood 
grown  in  India.  It  is  hard  and  heavy,  but  works 
well  in  the  lathe.  As  it  varies  somewhat  in  colour, 
the  brightest  and  most  evenly  toned  pieces  should 
be  selected  by  the  decorative  turner.  It  is  one  of 
the  dye-woods. 

Brazil  or  Pernambuco  wood. — A  dark  red  wood 
which  can  be  effectively  combined  with  other  and 
lighter-coloured  woods.  Care  must  be  taken  to  select 
perfect  pieces  only ;  and  the  turner  must  bear  in  mind 
that  whatever  its  colour  may  be  when  freshly  turned, 
it  will  become  considerably  darker  on  exposure  to  the 
air.  This  is  also  a  dye-wood. 


20 


DECORATIVE  TURNING 


Thuja  or  Thuya. — A  bright  red  wood  inclining  to 
orange,  fine  turned  specimens  of  which  can  be  seen 
in  the  collection  of  foreign  woods  in  the  Museum 
at  Kew  Gardens.  The  wood  is  closely  figured,  but 
not  of  a  nature  to  render  it  unsuitable  for  use  in 
small  surfaces.  When  introduced  in  geometrical 
inlaying,  small  pieces  will  be  commonly  required,  and 
these  should  be  carefully  selected  of  as  uniform  a 
colour  as  possible.  It  is  an  invaluable  wood  to  the 
decorative  turner  on  account  of  its  rich  colour,  and, 
fortunately,  it  can  be  readily  obtained  from  the  dealers 
in  foreign  woods. 

Padouk. — An  Indian  wood  of  a  rich  red  colour, 
and  commonly  presenting  several  varieties  of  tone  in 
a  piece  of  reasonable  size.  Like  thuja,  it  is  invalu¬ 
able  to  the  decorative  turner,  furnishing  one  of  the 
richest  reds  at  his  command.  In  some  respects  it 
is  more  useful  than  ruby-wood  or  thuja.  The  light- 
toned  padouk  is  very  useful  in  soft  combinations, 
and  in  harmonies  of  analogy,  associated  with  the 
darker  red  woods,  or  with  its  own  darker  tones.  The 
turner  should,  accordingly,  carefully  select  a  plank 
of  this  wood  presenting  as  many  varieties  of  tone 
as  possible.  Padouk  turns  admirably,  but  demands 
care  in  boring,  as  it  is  liable  to  chip.  It  repays  all 
the  care  bestowed  on  its  manipulation.  It  receives  a 
high  polish.  It  can  easily  be  obtained  of  any  desirable 
dimensions. 


COLOURED  WOODS 


21 


Braxiletto. — A  wood  of  a  ruddy  colour,  inclining 
toward  orange,  in  which  well-marked  streaks  fre¬ 
quently  appear.  It  is  imported  from  Jamaica,  in 
pieces  which  reach  about  seven  inches  in  diameter. 
This  wood  turns  well,  and  its  colour  is  effective 
when  associated  with  the  lighter  tints  of  the  yellow 
woods.  It  is  also  a  dye-wood. 

Tulip-wood. — -This  is  a  valuable  wood  in  the 
hands  of  the  decorative  turner.  Its  colour  is  a 
light  and  somewhat  bright  red  with  darker  red  streaks, 
having  a  rich  appearance  when  freshly  turned,  but, 
unfortunately,  it  loses  some  of  its  brightness  when 
exposed  to  air  and  light.  When  immediately  French 
polished  after  it  is  finished  in  the  lathe  it  does  not 
fade  so  readily  ;  but,  nevertheless,  the  fact  that  it 
does  change  should  be  recognised  by  the  turner 
when  forming  his  colour-schemes. 

Cam-wood. — This  is  another  valuable  wood  in 
decorative  turnery,  being  singularly  fine  and  close 
in  its  grain.  When  freshly  turned  it  is  of  an  orange- 
red  colour,  but  this  desirable  tint  is  not  permanent, 
changing  by  exposure  to  a  red  approaching  the 
brown  scale.  As  in  the  case  of  tulip-wood,  this 
fact  should  be  borne  in  mind  by  the  turner.  Cam¬ 
wood  is  the  finest  of  all  the  red  dye-woods. 

Bar-wood. — An  African  wood  of  a  dark  red 
colour,  which  turns  well,  and  is  valuable  in  low- 
toned  colour-schemes.  Pieces  for  the  lathe,  end-grain, 


22 


DECORATIVE  TURNING 


are  commonly  under  three  inches  in  diameter,  but 
long-grain  pieces  can  be  obtained  of  any  useful  size. 
It  is  also  a  dye-wood. 

Beef-wood. — A  fine  and  useful  wood,  imported 
from  New  South  Wales,  usually  in  round  logs  reach¬ 
ing  up  to  about  twelve  inches  in  diameter.  Its 
colour  is  that  of  rich  red  Spanish  mahogany,  with 
dark  red  markings  distributed  closely  throughout 
it,  producing,  in  the  finer  specimens,  a  very  pleasing 
effect.  As  it  can  be  obtained  in  end-grain  pieces 
of  any  desirable  size,  it  becomes  a  useful  wood  for 
large  surfaces  which  are  to  receive  richly-coloured 
designs  executed  in  lighter-tinted  woods. 

Rata. — A  New  Zealand  wood,  of  a  dark  red 
colour,  very  close-grained,  and  heavy.  It  can  be 
obtained  of  any  desirable  size,  and  is  trustworthy  in 
every  respect. 

Rosetta-wood. — This  is  wood  of  an  orange-red 
colour  having  darker  markings.  When  freshly  turned 
its  colour  is  singularly  vivid ;  but,  unfortunately, 
the  lighter  tints  darken  somewhat  on  long  exposure. 
The  wood  is  close-grained  and  hard,  and,  accordingly, 
turns  well. 

Red  cedar  {Juniper us  virginiana'). — This  wood 
is  commonly  known  as  “  pencil  cedar.”  Its  pale 
and  very  subdued  reddish  hue  renders  it  useful  in 
certain  combinations  of  more  richly-coloured  woods. 
It  should  be  used  in  flush-work  only,  where  it  is 


COLOURED  WOODS 


23 


little  liable  to  be  injured,  its  great  softness  rendering 
this  disposition  desirable.  The  richest,  brightest, 
and  most  uniformly  coloured  pieces  should  be  selected 
by  the  turner.  It  should  not  be  used  end-grain. 

Spanish  mahogany. — The  richest  coloured  speci¬ 
mens  of  this  wood  may  be  found  useful  by  the 
turner  as  a  background  for  bright  combinations,  but 
it  is  not  so  good  as  beef-wood  for  decorative  purposes. 


Greenish  Woods 

Calemberg. — This  wood  is  of  an  olive-green  colour, 
in  which  darker  tones  appear.  Choice  pieces,  having  a 
clear  and  uniform  colour,  are  much  to  be  desired  by 
the  decorative  turner,  especially  for  works  in  which 
low  tones  and  subdued  contrasts  with  warm-tinted 
woods  are  preferred.  From  the  similarity  of  its  grain 
to  that  of  the  ordinary  yellow  sandal-wood,  and  being 
also  scented,  it  has  been  named  green  sandal-wood. 

Green  ebony. — This  is  a  West  Indian  wood,  of 
great  use  to  the  turner,  being  hard,  durable,  and 
capable  of  receiving  a  high  polish.  On  account  of 
its  dull  green  colour,  which  has  been  compared  to 
that  of  a  green  fig  just  approaching  maturity,  this 
wood  is  valuable  for  grounds  to  receive  inlays  of 
light  contrasting  and  brightly  coloured  woods. 
Choice  pieces  of  uniform  tint  should  alone  be  used 
in  good  work. 


24 


DECORATIVE  TURNING 


Laburnum. — This  well-known  wood  has  been  too 
much  neglected  by  the  turner,  probably  because  the 
value  of  its  peculiar  colour  and  general  appearance 
has  not  been  realised  in  the  common  class  of  turnery 
hitherto  practised.  The  best  laburnum  is  grown  in 
Great  Britain,  the  Alpine  variety  yielding  a  blackish 
wood.  The  British  laburnum  is  of  a  greenish-brown 
colour,  being  variously  marked  and  figured  in  good 
specimens.  It  can  be  procured  in  sizes  sufficient  for 
all  ornamental  purposes,  and  should  certainly  be 
included  in  the  palette  of  the  decorative  turner. 


Yellowish  Woods 

Box-wood. — Of  all  the  woods  approaching  yellow 
in  colour,  box-wood  is  the  most  valuable  to  the  turner  ; 
in  fact,  it  is,  like  ebony,  indispensable  in  decorative 
turnery.  It  forms,  on  the  one  hand,  an  effective 
medium  of  demarcation  between  darker-coloured 
woods ;  while,  on  the  other  hand,  it  forms  an 
admirable  ground  for  the  display  of  richly-coloured 
designs,  and  furnishes  an  element  of  importance  in 
designs  executed  on  dark  grounds.  These  facts 
will  be  readily  realised  on  studying  the  designs 
illustrated  in  the  present  manual.  Only  the  finest 
and  lightest-coloured  wood,  free  from  discolorations 
of  any  kind,  should  be  selected  for  grounds  and  for 
general  use  ;  but  for  some  special  colour  combinations, 


COLOURED  WOODS 


25 


the  deepest  yellow  box-wood  will,  in  all  probability, 
be  preferred  by  the  artist  in  decorative  turnery. 
This  variety  is  only  to  be  found  in  the  finest  wood 
imported  from  Turkey. 

Fustic. — This  is  a  valuable  decorative  wood  of 
a  yellow  colour,  inclining  to  the  green  scale.  It  can 
be  procured  in  pieces  sufficiently  large  for  any 
purpose  in  decorative  turnery,  and  even  up  to  eight 
inches  in  diameter.  It  is  effective  in  all  the  offices 
pointed  out  in  the  above  remarks  on  box-wood, 
while  it  is  more  effective  in  large  surfaces  than  that 
wood.  It  is  largely  used  in  dyeing. 

Satin-wood. — The  satin-wood  used  by  the  turner 
should  be  that  imported  from  St.  Domingo ;  and 
of  this,  the  brightest  yellow  and  most  lustrous 
pieces  should  be  selected.  Having  a  beautiful 
figure,  it  is  highly  suitable  for  the  portions  of  any 
work  which  present  sufficiently  large  surfaces  to 
display  its  peculiar  richness.  These  surfaces  are 
admirable  for  the  reception  of  inlaid  designs  exe¬ 
cuted  in  boldly  -  contrasting  and  deeply-coloured 
woods.  On  the  other  hand  it  can  be  effectively 
used  in  small  pieces  in  the  formation  of  designs. 

Canary  -wood  or  Amarillo.  —  This  is  a  South 
American  wood,  close-grained,  and  of  a  deep  yellow 
colour,  inclining  to  orange  in  the  finer  specimens. 
It  is  a  most  valuable  wood  in  the  hands  of  the 
decorative  turner,  producing  fine  contrasts  of  colour 


26 


DECORATIVE  TURNING 


when  associated  with  ebony,  rose-wood,  and  other 
dark  woods,  and  pleasing  harmonies  of  analogy  in 
conjunction  with  the  rich  brown  woods. 

Mulberry  ( Morus  indica). — An  Indian  wood  of 
a  yellow  colour,  close-grained,  and  very  tough.  It 
is  a  desirable  wood  in  decorative  turnery,  although 
not  indispensable. 

Lance-wood.  — This  well-known  wood  is  of  a  pale 
yellowish  cream  colour,  lighter  in  tint  than  box-wood. 
It  can  be  used  instead  of  box-wood  in  vivid  con¬ 
trasts  of  colour. 

Sandal-wood. — This  wood,  so  largely  used  for 
various  ornamental  purposes,  is  a  useful  material  in 
decorative  turnery,  especially  when  a  subdued  yellow 
colour,  inclining  to  a  tawny-brown  tint,  is  desirable 
in  low-toned  harmonies,  or  for  quiet  grounds  to  re¬ 
ceive  richly-coloured  devices.  The  best  sandal-wood 
for  turnery  comes  from  Malabar,  and  can  be  pro¬ 
cured  of  any  size  likely  to  be  called  for  by  the 
decorative  turner. 


Brownish  Woods 

Cangica-wood  or  Angica-wood. — A  Brazilian  wood 
of  a  yellowish-brown  colour.  It  is  highly  suitable 
for  turnery,  and  for  this  purpose  pieces  as  uniform 
in  tint  and  as  plain  in  figure  as  possible  should  be 
selected. 


COLOURED  WOODS 


27 


Coromandel  or  Calamander. — -The  best  quality  of 
this  wood  is  grown  in  Ceylon.  It  is  a  slightly  figured 
wood,  its  ground-colour  being  of  a  warm  brown  colour 
through  which  are  blackish  markings.  It  is  intensely 
hard,  but  turns  well.  It  has  been  classed  as  a  variety 
of  ebony.  It  can  usually  be  obtained  of  the  largest 
size  likely  to  be  called  for  in  decorative  turnery. 

Princes-wood.  —  This  wood  is  imported  from 
Jamaica  in  logs  up  to  about  seven  inches  in  diameter. 
It  is  a  pale  yellowish-brown,  veined  wrood,  very  suit¬ 
able  for  decorative  turnery. 

Cocus  or  Cocoa-wood. — This  West  Indian  wood  is 
very  well  known  to  the  professional  turner.  It  is 
suitable  for  the  most  elaborate  class  of  ornamental 
turnery,  being  hard  and  singularly  close  in  the  grain. 
It  would  be  very  valuable  in  decorative  work  if  it 
retained  its  light  yellowish-brown  colour,  streaked 
with  darker  brown,  when  first  worked,  but,  unfortun¬ 
ately,  it  changes  to  a  very  deep  brown  on  exposure. 

Snake-wood.—- This  beautiful  and  somewhat  scarce 
wood  is  of  a  warm  hazel  colour,  through  which  are 
distributed  numerous  black  markings,  which,  from 
their  slight  resemblance  to  the  dark  scales  on  the 
skin  of  a  snake,  have  given  the  name  to  the  wood. 
It  can  be  used  with  considerable  effect  by  the  decora¬ 
tive  turner,  if  artistically  contrasted  and  properly 
disposed  with  respect  to  its  markings.  It  can  be 
obtained  only  in  pieces  of  small  diameters. 


28 


DECORATIVE  TURNING 


Amboyna  or  Kiabooka-zvood. — This  wood  is  im¬ 
ported  from  Singapore.  It  is  a  beautiful  wood  of  a 
colour  ranging  from  orange-brown  to  a  reddish-brown, 
covered  with  small  curls  and  knot-like  markings;  it 
is  evidently  of  the  nature  of  a  burr.  In  the  turner’s 
hands  it  cannot  be  said  to  be  effective,  unless  used 
for  plain  and  somewhat  large  surfaces  where  its  figure 
can  be  seen  to  advantage.  It  forms,  however,  a  good 
ground  for  bright  inlays,  or  studding  of  ivory,  holly, 
or  box-wood. 

Bullet-wood. — The  finer  wood  that  bears  this  name, 
which  is  stated  to  come  from  Berbice,  is  of  a  uniform, 
hazel-brown  colour,  and  is  very  close-grained  and 
hard.  It  is  in  every  way  suitable  for  ornamental 
turnery,  and  to  some  extent  in  decorative  work. 
This  finer  quality  is  scarce,  and  not  commonly  to  be 
found  in  the  market.  The  bullet-wood  which  comes 
from  the  Virgin  Isles,  West  Indies,  is  not  so  desirable, 
being  of  a  weak  greenish-brown  colour. 

Zebra-wood. — This  is  a  beautiful  wood  of  an 
orange  -  brown  colour,  with  dark  brown  stripes 
commonly  approaching  straight  lines.  The  variety 
to  be  selected  by  the  turner  is  the  Brazilian,  shipped 
from  Rio  Janeiro.  Like  all  richly  marked  or  figured 
woods,  it  is  most  suitable  for  surfaces  of  sufficient  size 
to  allow  its  character  to  be  well  seen.  When  used 
in  decorative  inlays,  very  choice  pieces  should  be 
selected  and  matched,  and  their  stripes  should  be 


COLOURED  WOODS 


29 


symmetrically  arranged  in  directions  so  as  to  assist 
the  design  in  which  they  are  introduced. 


White  Wood 

Holly. — This  is  the  only  wood  that  approaches 
a  pure  white  that  is  of  value  to  the  decorative  turner. 
It  is  a  remarkably  clean,  close-grained,  and  tough 
wood,  and  turns  admirably.  The  turner  must  be 
careful  to  use  only  pieces  that  have  been  properly 
cured,  seasoned,  and  dried.  When  it  has  been  so  pre¬ 
pared,  it  presents  a  clear  and  uniform  white  appearance, 
and  can  be  safely  used.  To  the  decorative  turner, 
holly  is  of  the  highest  value,  coming  next  to  ivory 
in  effect,  while,  in  many  combinations  of  colour,  it 
is  superior  to  it  on  account  of  its  softness  of  tone. 
It  is  unfortunate,  however,  that  it  is  practically  im¬ 
possible  to  obtain  this  invaluable  wood  (from  any 
dealer  in  hard-woods),  properly  cured  and  seasoned, 
of  a  greater  thickness  than  a  quarter  of  an  inch.  This 
fact  limits  its  use  to  a  considerable  extent,  except  in 
flat  work  or  in  the  process  of  geometrical  inlaying. 
In  lamination  it  will  seldom  be  required  above  the 
thickness  stated. 


CHAPTER  III 


DECORATION  BY  THE  PROCESS  OF 
STUDDING 


CHAPTER  III 


DECORATION  BY  THE  PROCESS  OF  STUDDING 
HE  first  and  simplest  mode  of  decoration  by  the 


I  use  of  turned  work,  as  mentioned  in  the  pre¬ 
ceding  chapter,  is  that  which  embraces  all  the  varieties 
of  plain-  and  pattern-studding.  Simple  though  this 
mode  of  decoration  may  be,  and  calling,  as  it  does,  for 
comparatively  little  skill  in  its  practice,  it  is,  when 
properly  executed,  extremely  effective,  especially  when 
woods  of  boldly-contrasting  colours  are  used,  with 
or  without  the  employment  of  ivory.  This  latter 
material  lends  itself  admirably  to  this  process  of 
studding,  not  only  because  it  can  be  generally  used 
in  small  and  inexpensive  pieces,  but  from  the  fact  that 
it  furnishes  the  most  pronounced  and  vivid  contrast 
possible  to  grounds  of  ebony  and  the  other  dark 
woods.  An  illustration  of  the  simplest  form  of  ivory 
studding  on  an  ebony  ground  or  band  is  given  at  B 
in  Plate  I.  At  A,  in  the  same  plate,  an  equally  simple 
treatment  is  shown,  in  which  the  studding  is  repre¬ 
sented  to  be  of  ebony  on  a  ground  of  holly,  which 
produces  the  most  pronounced  contrast  possible  in 
wood  at  the  command  of  the  turner.  The  art  of 


33 


c 


34 


DECORATIVE  TURNING 


studding  simply  consists  of  inserting  into  a  flat  or  any 
suitably  curved  surface  of  some  variety  of  coloured 
wood,  first  brought  to  the  desired  form  in  the  lathe, 
a  series  of  circular  studs  of  some  other  wood  of  a 
strongly  contrasting  colour,  as  mentioned  above,  or  of 
an  analogous  tint,  when  a  soft  and  subdued  effect  is 
desired  ;  the  studs  being  so  arranged  or  disposed  as 
to  impart  to  that  surface  a  well-marked  decorative 
character — a  character  that  cannot  be  produced  in  any 
one  description  of  wood,  by  any  process  of  simple 
turning,  or  by  the  resort  to  automatic  tools  operating 
on  such  a  surface  alone. 

Beyond  extreme  accuracy  in  setting  out  the  centres 
of  the  holes  for  the  reception  of  the  studs,  and 
ordinary  skill  in  the  use  of  the  lathe  and  the  few 
necessary  hand-tools,  little  is  called  for  in  the  work¬ 
man  but  good  judgment  and  taste  in  the  selection  of 
the  material  for  the  studs,  with  regard  to  that  of  the 
ground  into  which  they  are  to  be  inserted,  so  as  to 
produce  the  artistic  effect  aimed  at. 

The  only  tools  absolutely  necessary  in  addition  to 
the  usual  wood-lathe  accessories  and  hand-turning 
tools,  are  a  good  steady-working  brace  and  a  set  of 
very  sharp  and  clean-cutting  bits — preferably,  for  this 
class  of  work,  those  known  as  the  “  Jennings’  Patent 
Bits,”  which  are  of  the  screw-pointed,  double-cutting, 
twist  form.  Of  these  only  the  smaller  sizes  are  likely 
to  be  required,  and  the  shorter  make  should  be 


PROCESS  OF  STUDDING 


35 


preferred.  Ordinary  centre-bits  may  be  used,  but  these 
require  to  be  kept  in  the  sharpest  and  most  perfect 
condition.  It  is  desirable  to  prepare  them  for  work 
requiring  so  great  accuracy  by  reducing  the  size  and 
altering  the  edges  of  their  centre-points,  so  as  to  pre¬ 
vent  their  working  in  any  direction  from  the  centres 
originally  set  out.  Before  using  either  form  of  bit, 
the  centre  holes  should  in  all  cases  be  accurately  and 
deeply  pricked  with  a  sharp-pointed  awl ;  the  fine 
holes  so  made  will  guide  the  bits  during  the  process 
of  boring  the  holes  for  the  studs.  Doubtless  the 
good  workman  will  decide  all  such  matters  to  his  own 
satisfaction,  as  experience  is  the  best  teacher  and  guide. 
In  all  probability,  the  possessors  of  high-class  lathes, 
fitted  with  dividing-plate,  slide-rest,  and  overhead- 
motion,  will  reject  such  every-day  tools  as  the  brace 
and  bits,  and  have  recourse  to  their  automatic  revolving 
cutters  and  drills,  therewith  producing  more  accurate 
and,  perhaps,  cleaner  work.  But  we  have  known 
work  executed  without  these  exact  mechanical  and 
automatic  appliances  as  perfect  in  every  respect  as  the 
most  exacting  artist  could  desire.  In  our  opinion 
there  is  a  charm  about  work  that  bears  the  unmistak¬ 
able  stamp  of  direct  and  expert  hand  execution,  which 
is  necessarily  absent  in  purely  mechanical  productions. 
As  we  have  said  elsewhere,  “  the  element  of  difficulty, 
and  the  demand  for  accuracy  of  eye  and  dexterity  of 
hand,  have,  and  always  should  have,  great  charms  for 


DECORATIVE  TURNING 


36 

the  true  artist.”  The  necessity  for  accuracy  in  the 
designing  and  execution  of  both  plain-  and  pattern- 
studding  will  be  evident  to  every  one  interested  in 
woodwork  who  examines  the  plates  devoted  to  the 
illustration  of  this  mode  of  decorative  turning,  and 
those  in  which  it  is  shown  associated  with,  and 
subordinate  to,  the  more  elaborate  methods  of  decora¬ 
tion. 

In  the  foregoing  remarks  two  styles  of  studding 
have  been  mentioned,  and,  accordingly,  before  pro¬ 
ceeding  further,  it  is  desirable  that  what  is  signified  by 
the  terms  -plain- studding  and  pattern-studding  should 
be  clearly  stated.  Plain-studding  comprises  all  dis¬ 
positions  of  single  studs  which  do  not  in  themselves 
form  ornamental  designs  or  patterns.  The  most 
effective  disposition  is  in  a  single  row,  at  regular 
intervals,  such  as  appears  in  diagrams  A,  B,  C,  and  D, 
in  Plate  I.,  the  practical  application  of  which  is  well 
illustrated  in  the  design  for  a  tall  candlestick  shown  in 
Plate  V.,  in  which  rows  of  ivory  studs  ornament  the 
lowest  member  of  the  base  and  the  four  ebony  bands 
in  the  shaft,  below  and  above  the  central  knop.  The 
other  styles  of  studding  also  illustrated  in  this  plate 
will  be  alluded  to  further  on.  Plain-studding  is  again 
shown  applied  to  cylindrical  bands  in  diagrams  B  and 
C  in  Plate  III.  As  applied,  in  a  circular  fashion,  in 
flat  work,  effective  examples  are  furnished  by  the 
medallion  illustrated  in  Plate  XIII.,  and  by  the 


PROCESS  OF  STUDDING 


37 


compound  medallions  in  Plate  X.  Plain-studding, 
inserted  in  grounds  surrounding  elaborate  designs,  is 
illustrated  in  the  medallions  represented  in  Plate  IX. 

Plain-studding  may  assume  a  simple  form,  the  studs 
being  of  a  single  material — wood  or  ivory — as  repre¬ 
sented  in  diagrams  A  and  B,  in  Plate  I.,  or  they  may 
be  rendered  ornamental  in  themselves  by  being  turned 
of  different  materials,  such  as  wood  and  ivory,  or  two 
woods  of  contrasting  colours,  after  the  fashion  repre¬ 
sented  in  diagrams  C  and  D  in  the  same  plate.  In 
the  former  the  studs  are  shown  to  be  of  ivory  with 
ebony  centres,  while  those  in  the  latter  diagram 
are  shown  to  be  of  ebony  with  ivory  centres ;  the 
colours  of  the  grounds  dictating  the  contrasting  treat¬ 
ment  of  the  studs. 

The  term  'pattern- studding  practically  explains  itself, 
signifying  any  arrangement  of  studs- — preferably  plain 
— which  produces  either  an  open  or  close  pattern  or 
ornamental  device.  Open  pattern-studding  is  the 
simpler  and  easier  in  manipulation  of  the  two  classes 
named,  because  the  studs  employed  in  it  retain  their 
ordinary  circular  form,  and  are  inserted  invariably  in 
detached  positions  in  the  ground,  so  as  to  produce  the 
open  patterns  required.  Examples  of  this  class  of 
studding  are  illustrated  in  diagrams  B,  C,  and  D 
in  Plate  II. 

The  term  close-studding  is  conveniently  used  to 
signify  the  combination  of  studs,  properly  of  differently 


38 


DECORATIVE  TURNING 


coloured  materials,  which  are  so  closely  associated 
as  to  touch  or  cut  into  each  other  in  the  formation 
of  simple  ornamental  devices,  such  as  are  represented 
in  diagrams  E  and  F  in  Plate  I.,  and  A  in  Plate  II. 
An  example  of  the  use  of  such  studding  for  the 
decoration  of  an  otherwise  plain  surface  or  ground  is 
furnished  by  the  conical  base  of  the  candlestick  illus¬ 
trated  in  Plate  V. 

In  the  formation  of  the  patterns  and  devices  above 
alluded  to,  two  classes  of  studs  may  be  employed, 
namely,  flat  or  flush,  and  raised.  The  former  class 
is  that  most  suitable  for  general  use,  being  not  only 
the  easiest  to  execute,  but  in  some  respects  the  most 
effective.  Raised  studs  are,  however,  desirable  in 
certain  designs,  and  in  some  salient  positions,  as, 
for  instance,  in  the  central  knop  of  the  candlestick 
in  Plate  V.  All  the  diagrams  in  Plate  II.  show 
the  introduction  of  raised  studs  in  combination  with 
flat  ones.  Of  course  such  designs  are  not  dependent 
on  the  introduction  of  the  raised  studs,  for  they  can 
all  be  effectively  executed  in  flush  studding. 

Before  giving  the  desirable  hints  respecting  the 
coloured  woods  most  suitable  for  the  effective  rendering 
of  the  studding  illustrated  in  Plates  I.  and  II.,  we 
may  outline  the  processes  called  for  in  the  production 
of  such  studding. 

Supposing  a  single  row  of  studs  is  required  upon 
a  flat  band,  such  as  that  which  forms  the  lowest 


PROCESS  OF  STUDDING 


39 

member  of  the  candlestick  in  Plate  V.,  and  that  the 
band  has  been  turned  very  closely  to  its  required  size, 
the  next  proceeding  is  to  indicate  the  central  line 
of  the  studding  by  slightly  scratching  it  on  the  band 
as  it  revolves  in  the  lathe,  and,  subsequently,  accurately 
dividing  the  line  into  as  many  equal  parts  as  there  are 
to  be  studs.  When  the  surface  is  parallel  to  the  axis 
of  the  article,  as  in  the  case  of  the  candlestick,  the 
division  of  the  scratched  line  may  be  most  readily 
accomplished  by  placing  around  the  band,  and  against 
the  line,  a  narrow  strip  of  paper  and  cutting  through 
its  overlapping  ends,  thereby  obtaining  the  exact 
circumference  of  the  band.  The  strip  of  paper  can 
then  be  laid  flat,  and  easily  and  accurately  divided  into 
the  desired  number  of  parts,  and  its  edge  marked  with 
the  same.  The  paper  should  again  be  coiled  around 
the  band,  with  its  marked  edge  laid  close  to  the  scratch, 
and  temporarily  fixed  in  place  with  a  little  gum  or 
paste  at  intervals,  but  so  as  to  be  easily  removed. 
The  divisions  can  now  be  correctly  pricked  on  the 
scratch,  indicating  the  centres  of  the  holes  that  have 
to  be  bored  for  the  reception  of  the  studs.  These 
simple  directions  are  here  given,  because  it  is  not  a 
very  easy  matter  to  strike  the  divisions  on  the  article 
direct,  numerous  trials,  probably  of  a  somewhat  tedious 
character,  being  necessary,  accompanied  with  numerous 
undesirable  pricks  on  the  band.  Of  course,  if  the 
lathe  is  furnished  with  a  dividing-plate,  the  markings 


40 


DECORATIVE  TURNING 


for  the  centre  of  the  holes  can  be  made  directly 
on  the  article,  without  any  resort  to  division  by  hand. 
When  the  studding  is  to  be  executed  on  an  inclined, 
concave,  or  convex  member,  the  paper  must  be  aban¬ 
doned,  and  the  dividing  done  directly  on  the  same. 
In  every  case  the  centres  so  marked  must,  before  the 
boring  is  commenced,  be  deeply  pricked  with  the 
sharp-pointed  awl  already  mentioned,  for  accuracy  in 
the  subsequent  boring  is  absolutely  necessary. 

When  the  work  has  been  successfully  brought  to 
this  stage,  the  boring  of  the  holes  may  be  proceeded 
with,  the  most  suitable  bits  being  used  according 
to  the  nature  of  the  wood.  The  depth  of  the  holes 
may  vary,  according  to  the  size  of  the  studs,  from 
three-sixteenths  to  three-eighths  of  an  inch.  If  the 
boring  is  to  be  done  by  means  of  the  brace  and  bit,  as 
it  probably  will  be  in  nine  cases  out  of  ten,  the  article, 
on  or  off  its  chuck,  must  be  temporarily  removed  from 
the  lathe,  and  held  in  a  favourable  position  either  in 
the  ordinary  bench-jaws  or  some  suitable  screw-box. 
On  the  other  hand,  if  the  boring  is  to  be  done  by 
a  tool  held  in  a  slide-rest  and  driven  by  an  overhead 
motion,  the  article  will  of  necessity  remain  in  the  lathe, 
and  subject  to  the  proper  adjustment  of  the  dividing- 
plate.  When  bored,  in  either  fashion,  the  article  is 
ready  to  receive  the  studs. 

The  studs  must  be  turned  so  as  to  fit  accurately 
the  holes  bored  for  their  reception.  When  small 


PROCESS  OF  STUDDING 


41 


and  of  a  single  kind  of  wood,  or  of  ivory,  they  are 
most  conveniently  turned  in  a  rod,  and  parted  to 
about  the  proper  length  to  fill  the  holes  and  to  pro¬ 
ject  very  slightly  from  the  surface  of  the  article. 
The  accompanying  illustration,  Fig.  i,  shows  the 
manner  in  which  the  studs  may  be  most  readily 
turned  and  parted.  The  rod  should  be  first  brought 
to  a  uniform  diameter  throughout,  using  a  template 
bored  by  the  proper  bit,  halved  as  shown  at  A,  to 
determine  the  same.  It  should  then  be  parted  with 


Fig  i. — A  rod  of  turned  studs,  and  template. 


a  small  parting-tool,  and  each  stud  very  slightly 
tapered,  as  indicated.  The  studs  may  be  finally  separ¬ 
ated  with  a  fine  saw.  When  all  the  studs  are  turned 
and  ready  for  insertion,  they  must  be  dipped  in  thin 
freshly-made  glue,  and  gently  hammered  or  pressed 
into  their  holes.  After  the  glue  has  become  dry,  it 
is  desirable  that  any  portions  of  the  studs  which  may 
project  somewhat  from  the  surface  of  the  object 
should  be  cut  away  with  a  fine  saw,  or  roughly 
filed  down,  so  as  to  reduce  the  subsequent  turning 
to  a  minimum,  and  to  secure  a  perfect  finish.  Great 
care  is  required  in  this  final  operation  to  prevent 
injury  to  the  studs,  which  are  liable  to  be  chipped. 


42 


DECORATIVE  TURNING 


In  the  execution  of  such  open  pattern-studding 
as  is  illustrated  in  diagrams  B,  C,  and  D  in  Plate  II., 
proper  means  must  be  adopted  to  accurately  mark 
upon  the  surface  or  ground  to  be  studded  the 

centres  of  the  holes  that  have  to  be  bored.  These 
centres  can,  with  care,  be  set  out  directly  upon  the 
ground  by  the  aid  of  the  ordinary  drawing  instru¬ 
ments  ;  but  with  greater  ease  and  certainty,  as  the 
ground  is  likely  to  be  curved,  by  means  of  paper 
patterns.  These  patterns  simply  consist  of  accurate 
drawings  of  the  arrangements  of  the  studs,  the  centres 
for  which  are  pricked  through  the  paper.  In  using 
these  it  is  only  necessary  to  first  determine  the 

central  point  of  the  design  on  the  ground,  and 

drive  a  fine  needle  into  it :  then  passing  the  needle 
through  the  centre  of  the  middle  stud,  as  drawn, 
press  the  pattern  down  in  proper  position  on  the 

ground,  and  accurately  prick  upon  it  the  centres 
of  the  other  studs  forming  the  design.  If  a  design 
is  to  be  repeated,  say  in  the  manner  indicated  on 
the  conical  base  of  the  candlestick  illustrated  in 
Plate  V.,  it  is  only  necessary  to  again  and  again 
adjust  the  pattern  where  required,  in  the  same  manner, 
and  prick  all  the  centres.  The  centres  are  then  to 
be  very  accurately  and  deeply  pricked  with  the 
pointed  awl,  the  holes  bored,  and  the  studs  glued 
in  and  finally  turned  down,  as  directed  above  for 
plain-studding. 


PROCESS  OF  STUDDING 


43 


In  the  execution  of  such  close  pattern-studding 
as  is  illustrated  in  diagrams  E  and  F,  in  Plate  I., 
and  A,  in  Plate  II.,  exactly  the  same  process  as  that 
just  outlined  should  be  followed,  save  in  the  matter 
of  boring.  As  in  such  patterns  all  the  studs  ex¬ 
cept  the  central  one  have  to  be  partly  cut  away  to 
admit  of  the  insertion  of  the  central  stud,  it  is 
obvious  that  the  holes  for  the  outer  studs  must  be 
bored,  and  the  studs  glued  in  and  dressed  off,  either 
in  the  lathe  or  by  the  file,  before  the  hole  for  the 
central  stud  can  be  bored,  the  bit  employed  cutting 
away  the  small  portions  of  the  outer  studs  necessary 
to  admit  of  the  insertion  of  the  stud  which  com¬ 
pletes  the  design.  When  the  central  stud,  in  each 
design,  has  been  glued  in  and  roughly  dressed  off, 
the  entire  studded  portion  must  be  returned  to  the 
lathe  and  the  surface  finally  turned  and  finished, 
being  polished  in  any  desirable  manner. 

In  executing  raised  studding,  the  processes  above 
described  have  to  be  slightly  altered.  In  the  first 
place,  the  raised  studs  have  to  be  completely  finished 
in  the  lathe  before  they  are  applied,  and,  in  the 
second  place,  all  the  flat  studding  must  be  executed, 
and  the  entire  studded  surface  must  be  finally  turned 
and  polished,  before  the  raised  studs  are  glued  in. 
The  shape  in  which  the  studs  should  be  turned 
so  as  to  enter  and  slightly  overlap  the  edges  of 
their  holes  is  clearly  indicated  in  all  the  sections 


44 


DECORATIVE  TURNING 


given  in  Plate  II.  The  projecting  portions  of  the 
studs  are  shown  hemispherical  in  all  the  designs ; 
but  any  other  form  can,  of  course,  be  adopted  as 
the  taste  of  the  turner  may  suggest.  We  may, 
however,  remark  that  the  hemispherical  or  simple 
convex  form  is  the  best  and  most  effective  one  to 
use  in  all  ordinary  cases. 

One  other  class  of  stud  has  to  be  described, 
namely,  that  in  which  two  contrasting  materials  are 
used,  preferably  ebony  and  ivory,  or  ebony  and  holly. 
This  class  of  studding  is  represented  in  diagrams  C 
and  D  in  Plate  I.  In  forming  such  studs  the  inner 
portions  can  be  turned  in  the  manner  illustrated  in 
Fig.  i  ;  but  in  completing  the  studs  each  one  has 
to  be  chucked  and  turned  separately,  the  hole  for  the 
reception  of  its  inner  portion  being  turned  out,  the 
portion  glued  in,  and  the  stud  brought  to  the  proper 
size  and  condition  for  insertion  in  any  object,  just 
as  in  the  case  of  the  plain  studs  already  described. 
Owing  to  the  time  and  trouble  involved  in  forming 
studs  of  this  compound  class,  they  are  likely  to  be 
used  sparingly,  and  only  in  very  choice  specimens  of 
the  art  of  the  decorative  turner. 

In  all  the  preceding  remarks  in  the  present 
chapter  we  have  spoken  of  studding,  in  all  its 
different  forms  or  classes,  as  applied  to  surfaces 
turned  in  the  lathe  ;  but  it  must  not  be  understood 
that  such  surfaces  are  the  only  fields  for  the  artistic 


PROCESS  OF  STUDDING 


45 


display  of  plain-  and  pattern-studding.  Both  classes 
of  studding  are  equally  valuable  when  used  for  the 
decoration  of  flat  surfaces,  as  may  be  readily  realised 
on  an  examination  of  the  plates  in  the  present 
treatise  devoted  to  the  illustration  of  articles  of 
furniture.  It  will  also  be  realised  that  studding 
is  an  admirable  attendant  on  other  and  more 
elaborate  systems  of  decorative  turning,  on  flat 
surfaces  either  produced  in  the  lathe  or  on  the 
planing  bench. 

We  may  conclude  the  present  chapter  with  a 
few  practical  hints  respecting  the  arrangements  of 
coloured  woods  best  suited  for  the  effective  execu¬ 
tion  of  the  several  designs  of  plain-  and  pattern- 
studding  illustrated  in  Plates  I.  and  II. 

Plate  I. — Diagrams  A  and  B  show  single  rows 
of  plain-studding  in  counterchanged  contrast.  In 
diagram  A  the  ground  is  shown  light  and  the  studs 
black.  In  actual  work  the  ground  may  be  of  such 
woods  as  box,  satin-wood,  maple,  or  even  the  more 
humble  sycamore.  The  studs  may  be  of  ebony 
or  rosewood  when  a  very  pronounced  contrast  is 
desired  ;  or,  when  a  less  forcible  contrast  be  aimed 
at,  of  some  rich  red  wood  as  padouk,  thuja,  or 
ruby-wood.  If  a  still  softer  contrast  is  preferred, 
the  studs  may  be  of  tulip-wood  or  cangica-wood, 
or  of  still  lighter-coloured  woods  if  a  harmony  of 
analogy  is  desired.  If  the  ground  be  flat,  it  may 


46 


DECORATIVE  TURNING 


be  of  bleached  holly,  which,  as  it  can  only  be 
obtained  up  to  a  quarter  of  an  inch  in  thickness, 
must  be  glued  upon  some  other  wood  serving  as 
a  support.  As  holly  is  the  whitest  wood  known, 
the  greatest  possible  contrast  is  secured  by  studding 
it  with  ebony ;  but  very  pleasing  contrasts  are  ob¬ 
tained  by  using  any  of  the  red  woods. 

Diagram  B  shows  a  treatment  directly  the 
reverse  of  the  preceding.  In  actual  work  the 
ground  may  be  of  ebony  or  rosewood  of  the  closest- 
grained  and  darkest  kind,  while  the  studs  may  be 
of  ivory,  or,  if  not  larger  than  a  quarter  of  an  inch 
in  diameter,  of  holly.  If  a  softer  effect  be  desired, 
the  studs  may  be  of  boxwood  or  satin-wood.  The 
ground  may,  on  the  other  hand,  be  of  some  lighter 
and  richer  wood,  such  as  purple-wood,  king-wood, 
Brazil-wood,  padouk,  thuja,  calemberg,  or  Coro¬ 
mandel.  These  hints  are  given  by  way  of  leading 
suggestions ;  for  when  one  bears  in  mind  that  there 
are,  at  the  lowest  computation,  about  thirteen 
woods  of  a  reddish  colour,  seven  of  a  yellowish 
colour,  three  of  a  greenish  colour,  eight  of  a 
brownish  colour,  and  three  of  a  purple  colour — 
all  of  which  are  well  suited  for  the  use  of  the 
decorative  turner — it  is  obvious  that  almost  count¬ 
less  combinations  are  possible,  while  many  of  them, 
besides  those  already  suggested,  would  be  found 
very  refined  and  pleasing. 


PROCESS  OF  STUDDING 


47 


Diagrams  C  and  D  show  single  rows  of  inlaid 
studs  in  counterchanged  contrasts.  In  diagram  C 
the  ground  is  of  a  dark  tint,  representing  some 
wood  of  a  medium  depth  of  colour,  such  as 

padouk,  thuja,  or  calemberg,  the  studs  to  be 
of  ivory  with  ebony  inlays,  or,  if  a  less  forcible 
contrast  is  desired,  of  boxwood  with  ebony  or 
rosewood  inlays.  In  diagram  D  the  ground  is  of 
a  lighter  character,  representing  such  a  wood  as 

laburnum,  tulip-wood,  or  fustic,  the  studs  to  be 
of  ebony  inlaid  with  ivory  or  holly. 

Diagram  E  shows  a  very  simple  form  of  close 
pattern-studding,  with  the  addition  of  single  de¬ 
tached  studs.  The  ground,  shown  black,  may  be 
of  ebony  or  rosewood ;  the  outer  studs  of  the 
trefoils  to  be  of  box  or  satin-wood,  and  the  central 
studs  of  tulip-wood,  princes-wood,  or  laburnum. 
The  detached  studs  may  be  of  any  of  the  lighter 
woods  just  named.  When  less  forcible  contrasts 

are  desired,  the  ground  may  be  of  green  ebony  or 

any  of  the  rich  red  woods. 

Diagram  F  gives  a  somewhat  more  elaborate 
design  in  close  pattern-studding,  in  which  the  ground 
is  light,  representing  boxwood,  satin-wood,  or  maple  ; 
and  the  studding,  for  the  most  part  black,  represent¬ 
ing  ebony  or  rosewood,  the  centres  of  the  quatre- 
foils  to  be  of  some  rich  red  wood,  such  as  padouk 
or  thuja.  This  design  can,  of  course,  be  executed 


48 


DECORATIVE  TURNING 


on  a  dark  ground,  the  same  system  of  colouring 
being  followed  as  suggested  above  with  relation  to 
the  design  in  diagram  E. 

Plate  II. — Diagram  A  shows  a  simple  design  in 
close  pattern-studding,  with  the  introduction  of 
raised  studs.  The  ground  is  dark,  indicating  the 
use  of  some  richly-coloured  wood,  but  one  not  too 
dark  to  prevent  the  ebony  studs  which  form  the 
quatrefoils  presenting  a  sufficient  contrast.  The 
-'raised  central  studs  may  be  of  boxwood,  fustic,  or 
laburnum.  The  same  design  can  be  successfully 

carried  out  on  a  lighter  wood,  such  as  satin-wood, 
tulip-wood,  fustic,  or  laburnum  ;  the  quatrefoils 
being  in  rosewood  or  ebony,  and  the  raised  studs 
in  ivory  or  light  boxwood. 

Diagram  B  shows  a  design  in  open  pattern- 
studding,  also  with  the  introduction  of  raised  studs, 
which  in  this  case  are  of  the  same  size  as  the  flush 
studs.  The  ground  represents  ebony  or  rosewood, 
but  woods  of  a  richer  character  would  be  highly 
suitable,  such  as  violet-wood  or  Brazil-wood.  The 
studs  may  be  of  holly,  boxwood,  or  satin-wood  in 
all  cases ;  the  raised  studs,  however,  can  be  formed 
of  a  different  wood  or  of  ivory,  as  taste  may  direct. 

Diagram  C  furnishes  another  and  simpler  design 
in  open  pattern-studding  which  can  be  successfully 
executed  on  a  ground  of  satin-wood,  fustic,  or 
laburnum,  the  outer  studs  being  of  ebony,  and  the 


PROCESS  OF  STUDDING 


49 


central  raised  studs  of  any  wood  contrasting  well 
with  the  ground.  For  instance,  if  the  ground  be  of 
satin-wood,  the  raised  studs  may  be  of  dark  padouk, 
and  the  flat  studs  of  purple-wood  or  ebony.  If  the 
ground  be  laburnum  of  a  good  light-green  colour, 
the  flat  studs  may  be  of  Brazil-wood  or  rich  red 
padouk,  while  the  raised  studs  may  be  of  ebony 
or  ivory. 

Diagram  D  presents  an  effective  arrangement  of 
small,  detached  studs,  flat  and  raised.  Patterns  of 
this  class  require  considerable  space  and  numerous 
studs  for  their  execution  ;  and  they  are  best  suited  for 
straight  bands.  They  can  be  executed  on  grounds 
of  any  kind  of  wood,  and  without  the  introduction 
of  raised  studs.  When  applied  to  articles  of  furniture, 
raised  studs  are  undesirable,  as  they  are  dust  holders. 


D 


CHAPTER  IV 


DECORATION  BY  THE  PROCESS  OF 
LAMINATION 


CHAPTER  IV 


DECORATION  BY  THE  PROCESS  OF  LAMINATION 


HE  process  of  decorative  turning,  to  the  ae- 


X  scription  of  which  the  present  chapter  is  de¬ 
voted,  differs  essentially  from  that  of  studding, 
described  in  the  preceding  chapter :  it  may  also 
be  considered  a  more  legitimate  branch  of  lathe- 
work,  in  so  much  that,  practically,  no  tools  are 
required  in  its  practice  beyond  those  commonly 
called  for  in  the  process  of  ordinary  wood-turning. 
The  process  of  lamination  is  more  concrete  in  its 
results  than  that  of  either  plain-  or  pattern-studding 
as  already  described :  at  the  same  time  it  may  be 
pronounced  more  difficult ;  at  least,  it  requires  some¬ 
what  greater  skill  and  more  patience  in  its  successful 
manipulation.  To  the  expert  turner,  however,  even 
with  the  simplest  form  of  wood-lathe  and  the 
ordinary  turning  tools,  it  presents  absolutely  no  diffi¬ 
culties.  Taste  in  the  matter  of  form  and  in  the 
harmonious  and  effective  arrangement  of  the  coloured 
materials— woods  and  ivory — is  absolutely  necessary 
for  the  production  of  artistic  work. 


S3 


54 


DECORATIVE  TURNING 


While  lamination  is  most  effectively  employed 
for  the  decoration  of  plain  or  uniform  surfaces  pro¬ 
duced  in  the  lathe,  which  without  it  would  be  tame 
and  of  little  or  no  value  from  an  artistic  point  of 
view,  it  is  also  of  considerable  importance  in  giving 
a  distinctive  value  and  force  to  many  -  membered 
mouldings.  It  may  be  remarked,  however,  that  in 
decoration  by  lamination,  elaborate  mouldings  or 
other  forms  of  minute  projecting  details  are  not 
essential  elements.  In  even  the  most  ambitious  essays 
in  this  branch  of  decorative  turning,  mouldings  or 
other  fanciful  contours  should  be  introduced  with  a 
considerable  degree  of  reserve,  and  always  under  the 
dictates  of  good  taste ;  and,  further,  they  should 
be  introduced  in  a  design  more  with  the  aim  of 
building  up  a  well-considered  colour-scheme,  than 
with  the  desire  of  displaying  great  manipulative  skill 
or  complex  tool-work.  The  decorative  turner  should 
bear  in  mind  that  there  is  a  proper  place  for  every¬ 
thing  his  art  can  legitimately  compass ;  and  that 
it  is  a  mistake  to  introduce  anything  that  is  un¬ 
necessary  or  out  of  place,  from  an  artistic  point 
of  view,  merely  with  the  desire — laudable  enough 
in  itself — to  display  his  dexterity  of  hand,  and  with 
the  probable  result  of  overloading  his  work  with 
undesirable  elaboration.  Plain  surfaces  and  simple 
forms  are  unquestionably  the  most  suitable  to  receive 
decoration  by  lamination.  Artistic  coloured  effects 


PROCESS  OF  LAMINATION 


55 


are  those  which  the  turner  should  chiefly  aim  at 
in  such  decoration ;  form,  beyond  what  the  design 
of  the  work  legitimately  calls  for,  being  of  secondary 
importance.  It  is  proper  to  remark,  in  addition  to 
what  has  already  been  stated  regarding  the  ordinary 
turning-tools,  that  in  the  production  of  some  forms 
of  delicately-detailed  work,  such  as  small,  many- 
membered  mouldings  or  sinkings,  specially-shaped 
cutting-tools  may  be  required,  adapted  for  the  pro¬ 
duction  of  convex,  concave,  ogee,  and  other  contoured 
members,  with  ease  and  precision. 

As  has  been  briefly  outlined  in  our  introductory 
chapter,  lamination  in  turnery  is  the  mode  of  pro¬ 
ducing  artistic,  decorative,  and  colour  effects,  primarily 
on  plain  surfaces,  and,  in  a  secondary  degree,  in 
mouldings  or  other  ornamental  features,  by  associat¬ 
ing,  in  direct  contact,  and  on  some  definite  system, 
a  selection  of  woods  of  different  colour-values,  and 
arranging  the  same  according  to  the  harmonies  of 
analogy  and  contrast.  When  an  arrangement  accord¬ 
ing  to  the  harmony  of  analogy  is  desired,  woods 
have  to  be  selected,  the  colours  of  which  belong  to 
the  same  or  analogous  families,  the  result  being  a 
very  soft  combination.  On  the  other  hand,  when 
the  harmony  of  contrast  is  desired,  woods  belonging 
to  entirely  different  families  of  colour  must  be  selected, 
and  so  associated  as  to  produce  very  pronounced 
effects  :  the  greatest  contrast  possible  is  produced 


56 


DECORATIVE  TURNING 


by  the  direct  association  of  ebony  and  holly  (or 
ivory).  Woods  of  purple  and  light  yellow  colours, 
and  of  bright  red  and  green  tints,  produce  other 
and  less  vigorous  contrasts.  The  introduction  of 
holly  or  ivory  in  all  combinations  imparts  an  increase 
of  contrast. 

Lamination  is  generally  and  most  legitimately 
disposed  at  right-angles  to  the  longitudinal  or  true 
axis  of  the  article  turned,  that  is,  in  the  manner 
indicated  in  the  four  diagrams  given  in  Plate  IV., 
and  still  more  fully  exemplified  throughout  the 
candlestick  illustrated  in  Plate  V.  In  all  these  illus¬ 
trations  the  different  tints  indicate  the  several  lamina 
or  layers  of  differently-coloured  woods.  For  the 
sake  of  variation,  and  the  production  of  certain  other 
decorative  effects,  the  lamination  may  be  disposed 
in  the  direction  contrary  to  that  just  mentioned, 
that  is,  along,  or  parallel  to,  the  direction  of  the 
true  axis  of  the  article  turned.  This  latter  method 
is  much  more  difficult  in  the  hands  of  the  ordinary 
turner,  or  one  not  expert  in  cabinet-work,  from  the 
fact  that,  in  addition  to  the  lathe-work,  it  calls 
for  the  use  of  the  bench  and  its  tools  ;  at  the  same 
time  it  is  neither  so  legitimate  in  turnery,  nor  so 
happy  in  its  decorative  effects  as  is  the  former 
method,  illustrated  in  Plate  IV.  For  the  sake  of 
convenient  distinction,  the  former  method  may  be 
properly  designated  transverse  lamination ,  while  the 


PROCESS  OF  LAMINATION  57 

latter  may,  with  equal  correctness,  be  called  longitudinal 
lamination. 

From  what  has  already  been  said,  it  will  be  clearly 
understood  that  decorative  lamination  assumes  two 
practically  distinct  forms ;  first,  that  which  is  confined 
to  plain  or  uniform  surfaces,  and  in  which  both  trans¬ 
verse  and  longitudinal  lamination  may  appear;  and, 
secondly,  that  which  is  used  to  accentuate  and  impart 
richness  of  effect  to  mouldings  and  other  features 
turned  in  relief,  and  in  which  transverse  lamination 
can  alone  be  introduced.  As  the  latter  method  of 
lamination  is  the  simplest,  and  may  be  considered  the 
more  legitimate  one,  from  the  ordinary  turner’s  point 
of  view  at  least,  it  may  properly  be  described  first. 

As  the  several  members  constituting  a  moulding 
or  other  projecting  feature  will  necessarily  be  finished 
separately  in  the  lathe,  in  the  form,  for  the  most 
part,  of  thin  discs,  flat  on  both  sides,  and  simply 
shaped  at  their  edges,  as  indicated  in  diagram  A  in 
Plate  III.,  which  is  a  section,  showing  in  a  discon¬ 
nected  manner  the  several  members  of  the  base 
moulding  shown  in  diagram  B  in  its  connected  or 
finished  form,  a  special  and  simple  method  of  chuck¬ 
ing  has  first  of  all  to  be  devised.  The  only  permanent 
lathe-chuck  necessary  in  the  process  now  under  con¬ 
sideration  is  the  ordinary  disc-and-screw  one ;  on  this 
will  be  screwed,  as  required,  a  disc  of  any  available 
wood — preferably  some  close-grained  hard  wood — of 


58 


DECORATIVE  TURNING 


sufficient  thickness  to  amply  cover  the  point  of  the 
screw.  The  surface  of  the  disc  must  be  turned 
perfectly  flat,  and  upon  it  must  be  glued  a  piece  of 
thick  manilla  or  cartridge  drawing-paper ;  in  some 
instances  a  thin  card  will  be  found  more  serviceable 
than  paper.  The  slab  of  wood,  which  is  to  form 
any  member  of  the  moulding  to  be  executed,  is  first 
planed,  or  brought  to  a  perfectly  level  surface  on 
one  side,  and  then  glued  on  that  surface  and  attached 
to  the  paper  on  the  chuck.  When  the  glue  is  dry, 
the  chuck  is  again  placed  in  the  lathe,  and  the  outer 
surface  of  the  attached  slab  is  turned  perfectly  level, 
being  brought,  at  the  same  time,  to  its  required  thick¬ 
ness  ;  its  edge  is  then  turned  to  the  contour  called 
for  in  the  design  of  the  moulding.  In  turning  the 
edge,  it  will  be  found,  in  all  probability,  necessary 
to  cut  away  the  surface  of  the  wood  chuck  adjoining 
it,  so  as  to  get  room  to  use  the  finishing  tool.  The 
edge  can  now  be  perfected  in  every  respect  and 
polished.  Nothing  remains  to  be  done  but  to  turn 
out  the  central  dowel  hole  (shown  in  the  diagram), 
and  to  remove  the  completed  disc  from  its  chuck  by 
passing  a  thin  table-knife  between  them,  splitting  the 
paper  or  card.  The  paper  that  adheres  to  the  finished 
disc  can  be  scraped  off,  and  the  glue  removed  with  a 
cloth  dipped  in  hot  water,  or  with  glass-paper  that 
has  been  pasted  on  a  piece  of  plate-glass.  When  all 
the  members  of  the  moulding  have  been  correctly 


PROCESS  OF  LAMINATION 


59 


turned  and  finished,  in  the  manner  just  described, 
each  having  been  separately  and  specially  chucked, 
to  save  time  and  trouble,  the  whole  can  be  glued 
together  in  the  following  manner.  The  dowel,  upon 
which  all  the  members  of  the  moulding  have  to  be 
held  in  proper  position,  must  be  turned  sufficiently 
exact  to  the  holes  in  the  members  to  admit  of  a  piece 
of  thick  cartridge  paper  being  wrapped  around  it 
tightly,  and  pasted  together  at  its  overlapping  edges, 
but  in  no  way  attached  to  the  surface  of  the  dowel 
so  as  to  prevent  its  removal.1  The  dowel  will,  of 
course,  be  made  considerably  longer  than  the  depth 
or  thickness  of  the  moulding  in  its  finished  state ; 
and  two  blocks  of  wood  must  be  provided  and  bored 
to  receive  the  projecting  ends  of  the  dowel  when  the 
members  of  the  moulding  are  being  glued  together. 
The  gluing  can  now  be  proceeded  with.  When  the 
first  member  of  the  moulding  has  been  put  on  the 
papered  dowel  in  a  convenient  position,  the  lower 
surface  of  the  next  member  must  be  covered  thinly 
with  newly-made  glue,  and  immediately  pressed 
against  that  already  on  the  dowel.  Each  succeeding 
member  must  be  similarly  treated ;  and  then  the 
blocks  must  be  placed  over  the  free  ends  of  the  dowel 

1  This  is  advisable  in  ordinary  practice,  but  in  some  cases  it  may 
be  found  advisable  to  permanently  fix  the  dowel  immediately  in  the 
moulding.  When  this  is  desirable,  the  paper  sheathing  should  be 
omitted,  allowing  the  moulding  to  be  glued  to  the  surface  of  the 
dowel. 


6o 


DECORATIVE  TURNING 


and  against  the  moulding,  and  the  whole  pressed 
tightly  with  a  good  hand-screw  or  screw-clamp. 
When  the  glue  is  dry,  the  dowel  can  be  withdrawn, 
and  the  ends  of  the  paper,  which  has  become  fixed 
to  the  moulding  in  the  process  of  glueing,  can  be  cut 
away  level  with  the  surfaces  of  the  upper  and  lower 
members.  The  moulding  is  now  complete,  and  ready 
to  be  attached  to  the  article  of  which  it  is  to  form 
a  part. 

In  Plate  III.  five  designs  for  base  mouldings  are 
given  in  diagrams  A-B,  C,  D,  E,  and  F  ;  two  mould¬ 
ings  of  a  capital  or  cornice  character  in  diagrams  G 
and  H ;  and  three  band  or  knop  mouldings  in 
diagrams  I,  J,  and  K.  Before  passing  on  from  this 
plate  it  is  desirable,  to  impart  to  it  as  great  a  practi¬ 
cal  value  as  possible,  to  suggest  suitable  combinations  of 
coloured  woods  in  connection  with  the  several  mould¬ 
ings  illustrated.  The  base  moulding  at  A  and  B  can 
have  its  plinth  (shown  black)  of  ebony  or  rosewood  ; 
its  large  round  member  of  padouk  ;  its  next,  concave 
member  of  green  ebony,  or,  if  a  brighter  contrast  is 
desired,  of  laburnum ;  the  upper  round  member  of 
tulip-wood  or  canary-wood.  The  base-moulding  C 
may  have  its  first  or  lowest  member  of  thuja  ;  its  second 
member  (shown  black)  of  ebony ;  its  third  member 
of  fustic  ;  and  its  upper  round  member  of  tulip-wood 
or  princes-wood.  The  base  moulding  D  may  have  its 
first  member  of  purple-wood  ;  its  second  member  of 


PROCESS  OF  LAMINATION 


61 


the  brightest  cam-wood ;  its  third  member  of  choice 
laburnum  ;  and  its  upper  member  of  satin-wood.  The 
base  moulding  E  may  have  its  first  member  (shown 
black)  of  ebony  ;  its  second  member  of  deep  laburnum  ; 
its  third  round  member  of  choice  ruby-wood ;  its 
fourth,  concave  member  of  satin-wood  ;  and  its  top 
member  of  thuja.  The  base  moulding  F  may  have 
its  first  member  of  ebony  or  rosewood ;  its  second 
small  member  of  holly  or  light  boxwood  ;  its  third 
large  member  of  king-wood  ;  its  fourth  member  of  fine 
satin-wood ;  and  its  top  member  of  the  brightest 
padouk,  or  of  rosewood,  as  indicated  by  being  shown 
black  in  the  diagram. 

The  capital  or  cornice  moulding  shown  at  G  may 
have  its  first,  or  neck,  member  (shown  black)  of  ebony 
or  rosewood  ;  its  second  member,  or  bell,  of  choice 
laburnum  or  canary-wood ;  its  third  member  of 
bright  padouk  or  thuja,  divided  by  the  narrow  band 
of  holly  or  boxwood  ;  and  the  top  member  of  ebony. 
The  moulding  H  may  have  its  first,  or  neck,  member 
of  ebony ;  its  second  member,  or  bell,  of  satin-wood  ; 
its  third  member  of  laburnum ;  its  fourth  member  of 
ruby-wood  or  dark  padouk ;  and  its  top  member  of 
black  or  dark-green  ebony. 

The  band  moulding  shown  at  I  can  have  its  small 
members  at  bottom  and  top  of  ebony  or  rosewood  ;  its 
two  concave  members  of  satin-wood,  and  its  large 
central  member  of  purple-wood  or  violet-wood.  The 


62 


DECORATIVE  TURNING 


band  or  knop  moulding  J  may  have  its  bottom  and  top 
members  of  calemberg  or  fine  green  ebony  ;  its  second 
and  sixth  members  of  tulip-wood  ;  its  third  and  fifth 
members  of  holly  or  light  boxwood  ;  and  its  central 
member  (shown  black)  of  rosewood  or  ebony.  The 
band  or  knop  moulding  K  may  have  its  bottom  and 
top  members  of  satin-wood  or  boxwood  ;  its  second 
and  sixth  members  of  tulip-wood  or  braziletto  ;  its 
third  and  fifth  members  of  ebony ;  and  its  central 
fillet  of  satin-wood,  or  holly  if  a  strong  contrast  is 
desired. 

The  combinations  of  coloured  woods  given  above 
are  all  more  or  less  illustrative  of  the  harmony  of  con¬ 
trast,  but  entirely  different  combinations  can  be 
devised  in  which  the  harmony  of  analogy  will  pre¬ 
dominate  ;  for  this  purpose  woods  will  have  to  be 
selected,  the  tints  of  which  belong  as  closely  as  practi¬ 
cable  to  any  one  family,  or  to,  at  least,  any  two  allied 
families  of  colour.  It  is  only  when  extremely  subdued 
and  softly  graduated  effects  are  desired  that  harmonies 
of  analogy  are  likely  to  be  preferred  to  the  more  or 
less  pronounced  effects  produced  by  contrasts  of 
colour.  Harmonies  of  analogy  are  less  successful,  as 
a  rule,  in  the  mode  of  decorative  turning  now  under 
consideration  than  in  that  to  which  the  following 
chapter  is  devoted.  In  the  scheming  of  mouldings, 
such  as  have  been  described  above  and  illustrated  in 
Plate  III.,  positive  contrasts  of  colour  will  always  be 


PROCESS  OF  LAMINATION 


63 


found  more  satisfactory  than  any  softer  harmonies, 
because,  as  every  designer  must  know,  all  mouldings 
are  largely  under  the  influence  of  shading  and  positive 
shadows,  which  necessarily  exercise  a  strong  subduing 
effect.  Base  mouldings,  from  their  position  with 
regard  to  falling  light,  are  affected  with  shadows  in 
a  much  less  marked  degree  than  mouldings  which 
overhang,  such  as  those  of  the  capital  or  cornice  form 
represented  in  diagrams  G  and  H  in  Plate  III.,  or 
even  those  of  the  band  or  knop  form,  represented  in 
diagrams  I,  J,  and  K,  the  lower  portions  of  which 
overhang  to  some  extent.  In  the  decoration  of  plain 
surfaces  by  the  process  of  lamination,  either  harmonies 
of  contrast  or  analogy  can  be  resorted  to,  and,  indeed, 
if  artistically  arranged,  both  the  harmonies  can  be 
combined  with  results  that  will  leave  nothing  to  be 
desired. 

Directing  attention  to  Plate  IV.,  in  which  are 
represented  four  cylinders  decorated  by  the  process  of 
lamination,  we  may  point  out  that  in  diagrams  A  and 
D  harmonies  of  contrast  are  alone  intended,  while  in 
diagrams  B  and  C  both  harmonies  of  analogy  and 
contrast  may  be  introduced  with  very  pleasing  results. 
Suggestions  respecting  the  various  woods  to  be  em¬ 
ployed  in  the  general  formation  and  effective  lamina¬ 
tion  of  these  cylinders  or  shafts  will  not  be  out  of  place 
here. 

The  cylinder  represented  in  diagram  A  may 


64 


DECORATIVE  TURNING 


have  its  ends  and  central  portion  of  almost  any 
richly-coloured  wood  ;  and  as  the  surfaces  of  these 
portions  may  be  of  considerable  size  a  favourable 
opportunity  is  afforded  for  the  use  of  boldly-figured 
woods.  Accordingly,  such  choice  woods  as  brazi- 
letto,  amboyna,  king-wood,  snake-wood,  zebra-wood, 
and  richly-figured  satin-wood  can  be  used  with  good 
effect.  While  all  these  three  portions  can  be  of 
the  same  wood,  it  is  not  necessary  that  such  should 
be  the  case,  for  very  pleasing  and  highly  decorative 
effects  can  be  obtained  by  introducing  in  the  end 
portions  a  wood  differing  in  colour  and  figure  from 
that  introduced  in  the  larger  central  portion ;  for 
instance,  if  the  latter  portion  is  made  of  snake- 
wood  or  zebra-wood,  the  ends  may  be  of  braziletto 
or  tulip-wood,  and  vice  versa.  None  of  the  arrange¬ 
ments  suggested  will  necessarily  interfere  with  the 
effectiveness  of  the  contrasting  lamination  in  the 
narrow  bands,  which  should  in  all  cases  be  of  holly 
(or  ivory)  and  ebony,  as  indicated,  when  a  sharp 
contrast  is  desired ;  or  of  boxwood  and  rosewood 
when  a  softer  effect  is  preferred,  and  when  satin- 
wood  is  not  used  for  the  larger  portions. 

The  cylinder  represented  in  diagram  B  calls  for 
a  more  elaborate  arrangement  of  coloured  woods 
than  that  required  in  connection  with  the  cylinder 
above  described ;  it  has  in  its  construction  thirteen 
lamina,  necessarily  employing  four,  and  allowing  the 


PROCESS  OF  LAMINATION  65 

introduction  (if  considered  desirable)  of  six  differently- 
coloured  woods.  In  addition  to  this,  the  process 
of  plain-studding  is  employed  in  its  decoration. 
For  the  ends  and  central  portion,  woods  of  a  medium 
tint  will  be  the  most  suitable,  such  as  satin-wood, 
tulip-wood,  cam-wood,  laburnum,  canary-wood,  sandal¬ 
wood,  and  princes-wood.  Such  woods  allow  of  the 
introduction  of  others  of  a  deeper  and  richer  colour, 
and  of  an  analogous  character,  in  the  lamina,  shown 
of  a  darker  tint,  on  each  side  of  the  ebony  borders 
of  the  studded  lamina.  The  studded  lamina  can 
be  of  ivory  or  light  boxwood,  or,  if  not  more 
than  a  quarter  of  an  inch  in  thickness,  they  can 
be  of  holly.  It  is  much  to  be  regretted  that  holly 
of  a  fine  white  colour,  and  of  good  and  thoroughly- 
seasoned  quality  cannot  be  readily  obtained  above 
a  quarter  of  an  inch  thick.  The  studs  in  all  cases 
should  be  of  ebony. 

In  the  cylinder  represented  in  diagram  C  a 
somewhat  different  arrangement  of  coloured  woods 
is  indicated.  In  the  construction  of  this  cylinder, 
as  in  that  of  the  preceding  one,  either  four  or  six 
differently  coloured  woods  may  be  used,  and  to 
both  combinations  ivory  may  be  added  in  the  shape 
of  the  studs  shown  on  the  ebony  lamina.  When 
only  four  woods  are  used,  the  broad  lamina,  adjoin¬ 
ing  the  thin  holly  borders  of  the  studded  ebony 
lamina,  will  be  of  the  same  wood ;  but  when  six 


66 


DECORATIVE  TURNING 


woods  are  introduced,  the  end  lamina  will  be  of 
different  wood  to  that  on  each  side  of  the  central 
portion  of  the  cylinder  (shown  of  a  lighter  tint)  ; 
for  instance,  the  central  portion  may  be  of  satin- 
wood,  the  broad  lamina  adjoining  it  of  ruby-wood, 
and  the  end  lamina  may  be  of  king-wood  or  green- 
ebony.  The  narrow  lamina,  on  the  sides  of  the 
ivory-studded  black  lamina,  may  be  of  holly  or 
pale  boxwood.  It  would  be  impossible  to  enu¬ 
merate  the  changes  that  could  be  made  by  the  use 
of  six  different  woods  in  different  combinations  in 
even  so  small  an  object  as  that  represented  in  the 
diagram. 

In  the  cylinder  represented  in  diagram  D,  the 
arrangement  of  the  coloured  woods,  indicated  by 
the  different  shades  employed,  points  throughout  to 
a  harmony  of  contrast,  in  which  pattern-studding 
assists  the  effect  produced  by  the  lamination.  In  this 
case  the  ends  and  the  central  portion  may  either 
be  of  the  same  wood,  or  the  central  portion  may 
be  of  any  colour,  while  the  ends  may  be  of  a  wood 
of  a  contrasting  colour  and  preferably  of  equal  value 
or  intensity  of  tone  ;  for  instance,  the  central  portion 
may  be  of  tulip-wood  and  the  ends  of  very  choice 
laburnum,  or  vice  versa.  Again,  padouk  or  thuja  and 
calemberg  of  the  brightest  quality  may  be  similarly 
associated.  The  narrow  laminations  in  all  cases  to 
be  of  holly  and  ebony,  and  the  pattern-studding 


PROCESS  OF  LAMINATION  67 

to  be  executed  in  ivory  and  ebony,  or  in  holly  and 
ebony,  as  indicated. 

In  Plate  V.  is  given  a  suggestive  design  for  a 
sideboard  or  mantelpiece  candlestick,  in  the  con¬ 
struction  of  which  are  required  plain  turning  ;  lamina¬ 
tion,  both  in  the  formation  of  the  mouldings  and 
in  the  decoration  of  the  plain  cylindrical  portions 
of  the  shaft  ;  and  plain-  and  pattern-studding.  In 
examining  the  design,  the  reader  interested  in  turning 
will  observe  the  proper  use  of  the  base,  knop,  and 
capital  mouldings,  all  of  which  call  for  lamination 
in  the  manner  specially  described  with  reference  to 
the  diagrams  given  in  Plate  III.  In  the  second 
place,  he  will  see  the  practical  application,  in  the 
shaft  of  the  candlestick,  of  the  laminated  cylindrical 
work  above  described,  and  specially  illustrated  in 
Plate  IV.  As  it  is  highly  probable  that  a  pair  of 
candlesticks  would  be  fabricated  at  the  same  time, 
we  would  suggest  that  a  different  pattern  of  lamina¬ 
tion  be  adopted  in  the  cylindrical  members  of  their 
shafts,  while  the  treatment  of  all  the  other  members 
would  remain  the  same ;  this  slight  variation  would 
destroy  dead  monotony,  without  affecting  uniformity 
of  shape.  It  is  not  necessary,  from  an  artistic  or 
decorative  point  of  view,  that  the  same  arrangement 
of  the  coloured  woods  should  obtain  in  both  candle¬ 
sticks  ;  but  it  is,  on  the  other  hand,  desirable  that 
a  true  balance  of  colour  should  be  observed.  The 


68 


DECORATIVE  TURNING 


great  variety  of  coloured  woods  at  the  disposal  of 
the  turner  should  render  this  observance  of  the 
balance  of  colour  an  easy  matter  under  the  guidance 
of  ordinary  taste  and  judgment.  The  following 
suggestions  for  the  selection  and  arrangement  of  the 
woods  required  in  the  construction  of  one  candle¬ 
stick,  as  represented  by  the  different  shades  in  Plate 
V.,  may  be  serviceable  to  the  turner  inexperienced  in 
this  class  of  work. 

Commencing  at  the  base  of  the  candlestick : — 
The  ball-feet  may  be  of  any  light  or  medium-coloured 
wood,  as  they  exercise  no  appreciable  effect  on  the 
colouring  of  the  base.  The  first  member  of  the 
base  to  be  of  ebony  or  dark  rosewood,  studded  with 
ivory  or  holly,  and  its  second  convex  member  may 
be  of  boxwood  or  pale  satin-wood.  The  conical 
portion,  which  presents  a  surface  sufficiently  large 
for  the  display  of  figure,  may  be  of  amboyna,  zebra- 
wood,  or  thuja  if  a  richer  glow  is  desired  ;  the  pattern- 
studding  to  be  of  ivory  and  ebony,  unless  a  quieter 
effect  is  preferred,  when  boxwood  may  take  the  place 
of  the  ivory.  The  moulding  between  the  portion 
just  described  and  the  shaft  has  four  lamina  :  these 
may  be  of  boxwood,  Brazil-wood,  pale  satin-wood, 
and  ebony.  The  cylindrical  portions  of  the  shaft  may 
have  their  lower  and  upper  lamina  of  calemberg  (of 
bright,  uniform  tint)  or  choice  laburnum,  and  their 
central  portions  of  rich  tulip-wood  or  padouk ;  the 


PROCESS  OF  LAMINATION  69 

decorative  bands  to  have  their  outer  lamina  of  ivory 
or  holly,  and  their  inner  ones  of  ebony  studded  with 
ivory.  The  knop  in  the  centre  of  the  shaft  to  have 
its  small  beads  of  ebony,  its  two  concave  members 
of  boxwood  or  pale  satin-wood,  and  its  central  flat 
member  of  purple-wood  or  rosewood,  with  its  pro¬ 
jecting  studs  of  ivory,  carrying  half-balls  of  bright 
red  wood.  Small  carbuncles  would  be  very  suitable 
and  effective  here,  and  they  can  be  procured  at  small 
cost  from  any  working  lapidary.  The  small  neck¬ 
moulding  on  the  top  of  the  shaft  to  be  of  ebony 
and  boxwood,  as  indicated.  The  bell  of  the  capping 
or  capital,  presenting  as  it  does  a  plain  surface  of 
considerable  size,  may  be  of  some  figured  wood,  either 
similar  to  that  selected  for  the  conical  base,  or  one 
practically  contrasting  with  it.  The  two  upper  lamina 
to  be  respectively  ebony  and  padouk,  as  indicated. 
The  candle  tray  to  be  of  polished  brass,  copper,  or 
silver,  as  taste  and  means  may  dictate. 

It  may  be  said  here  that,  to  save  space  in  the 
illustration,  the  cylindrical  portions  of  the  shaft  have 
been  drawn  as  short  as  such  a  design  reasonably 
permits ;  but  it  is  obvious  that  they  may  be  consider¬ 
ably  elongated  with  advantage,  and  decorated  with 
more  elaborate  lamination  and  with  pattern-studding. 
Although  we  have  confined  flush-lamination  to  these 
portions  of  the  candlestick,  it  would  be  quite  as 
effective  if  introduced,  instead  of  the  pattern-studding, 


7° 


DECORATIVE  TURNING 


in  the  conical  base.  A  broad  belt  of  ebony  or  rose¬ 
wood  studded  with  ivory  or  some  yellow  wood,  be¬ 
tween  narrow  lamina  of  holly,  would  be  effective  in 
a  central  position  in  this  base.  If  the  ebony  or  rose¬ 
wood  belt  is  of  sufficient  breadth,  it  may  be  effectively 
decorated  with  pattern-studding,  any  of  the  patterns 
represented  in  Plate  II.  being  suitable,  flush  studs 
alone  being  used.  The  bell,  in  the  capping  of  the 
candlestick,  could  also  be  enriched  in  a  similar  manner, 
the  lamination  being  narrow,  unstudded,  and,  prefer¬ 
ably,  kept  low  or  close  to  the  neck-moulding  from 
which  the  bell  springs  ;  the  upper  portion  of  the  bell 
should  always  be  left  plain,  as  horizontal  lines  would 
tend  to  disturb  the  upward  sweep  of  its  curve. 

We  have  now  to  briefly  describe  and  to  illustrate 
the  process  of  executing  such  transverse  lamination  as 
is  illustrated  in  Plates  IV.  and  V.  Taking  one  of  the 
cylindrical  divisions  of  the  shaft  of  the  candlestick, 
represented  in  the  latter  plate,  as  an  example,  the 
process  of  executing  the  lamination  there  indicated 
is  as  follows : — The  piece  of  wood  selected  to  form 
the  central  portion  of  the  cylinder  must  be  of  sufficient 
length  to  extend,  when  turned,  beyond  the  ends  of  the 
cylinder  when  finished,  so  as  to  provide  projecting 
dowels  for  its  attachment  to  the  other  portions  of  the 
candlestick  adjoining  it.  This  piece  of  wood  is  centred 
in  the  lathe,  and  the  required  portion  of  the  cylinder 
turned  exactly  to  the  necessary  length,  and  very  nearly 


PROCESS  OF  LAMINATION 


7i 


to  its  final  diameter,  its  ends  being  truly  squared  to 
the  axis  of  the  piece,  so  that  the  immediately  adjoining 
lamina  may  bed  accurately  upon  them.  The  remainder 
of  the  wood,  at  each  end,  must  be 
turned  down  truly  to  the  size 
determined  on  for  the  cores  or 

g 

dowels.  At  this  stage  the  turned  c 
piece  assumes  the  form  shown,  in  B 
section,  at  A  in  the  accompanying 
illustration.  The  next  proceeding  A 
is  to  prepare  the  several  discs 
required  for  the  lamination  and  b 
the  completion  of  the  cylinder ;  c 
these  are  indicated,  in  section,  at  B 
B,  C,  and  D.  The  discs  should  D 
be  turned,  on  wood  chucks,  in 
precisely  the  same  manner  as  that 
already  described  for  the  lamina¬ 
tion  of  mouldings.  The  discs, 
like  the  central  portion  A,  must 
be  left  of  a  diameter  somewhat 
larger  than  the  final  dimension, 

and,  after  the  paper  and  glue  are  Fig.  2. —  Sections  of  a 
.  laminatedcylinder,  show- 

removed.,  their  surfaces  should  be  jng  construction. 

lightly  rubbed  on  a  sheet  of  fine  glass-paper,  which 

has  been  carefully  pasted  on  a  piece  of  plate-glass, 

so  as  to  remove  any  slight  inequalities  that  may  have 

been  left  while  in  the  lathe,  and  to  secure  perfectly 


72 


DECORATIVE  TURNING 


close  glue-joints.  Too  much  care  cannot  be  exercised 
in  this  direction.  Each  ring,  as  turned  and  cleaned, 
should  be  successively  glued  to  the  middle  portion 
and  to  each  other,  being  screw-pressed  between 
blocks  of  wood,  bored  to  receive  the  dowel  portions. 
When  all  the  rings  or  lamina  are  glued  on,  the  entire 
piece  must  be  replaced  in  the  lathe,  and  its  surface 
turned  down  to  a  uniform  level  ready  to  receive 
its  studding.  After  scratching  the  centre  lines  on  the 
ebony  lamina,  and  dividing  the  same  for  the  number 
of  studs  intended,  the  piece  has  to  be  removed  from 
the  lathe,  bored,  and  the  studs  glued  in.  The  process 
is  completed  by  replacing  the  piece  in  the  lathe, 
turning  its  surface  perfectly  true  and  to  the  exact 
diameter,  and  its  ends  to  the  required  length,  and 
otherwise  finishing  and  polishing  the  surface  in  any 
desirable  manner.  To  preserve  the  colours  of  the 
woods,  it  should  be  French-polished,  white  polish  being 
used  so  as  not  to  darken  the  ivory  and  holly  when 
such  materials  are  introduced. 

We  may  conclude  our  remarks  on  decorative 
lamination  by  describing  that  class  to  which  we 
have  given  the  distinctive  name  longitudinal  lamina¬ 
tion — namely,  lamination  along,  or  parallel  to,  the 
true  axis  of  the  turned  object.  While  there  is 
comparatively  little  use  for  this  class  of  decorative 
lamination,  it  cannot  properly  be  ignored  in  such 
a  treatise  as  the  present.  It  is,  accordingly,  necessary 


PROCESS  OF  LAMINATION 


73 


to  briefly  describe  its  nature  and  the  process  of  its 
construction.  Unlike  transverse  lamination,  to  the 
description  of  which  the  present  Chapter,  up  to 
this  point,  has  been  entirely  devoted,  longitudinal 
lamination  cannot  be  artistically  used  alone,  nor 
can  it  be  considered  a  legiti¬ 
mate  offspring  of  the  lathe. 

On  the  other  hand,  when  as¬ 
sociated  with  transverse  lamina¬ 
tion,  it  is  capable  of  producing 
pleasing  decorative  effects.  The 
accompanying  illustration,  Fig.  3, 
will  convey  some  idea  of  the 
class  of  lamination  now  under 
consideration,  unassociated  with 
transverse  lamination.  The  trans¬ 
verse  section,  shown  below,  clearly 
indicates  the  mode  of  construc¬ 
tion  to  be  followed  in  the 
formation  of  the  most  sub¬ 
stantial  longitudinal  laminated 
work.  The  lamination  has  to 
be  prepared  at  the  bench,  and  quite  independently 
of  the  lathe  ;  the  several  layers  of  wood  being  planed 
to  the  required  thicknesses  and  securely  glued  together. 
The  manner  in  which  the  pieces,  so  prepared,  are  cut 
and  placed  in  association  with  the  four  filling-up  pieces 
(originally  quadrangular,  as  indicated  by  the  dotted 


Fig.  3. — Illustrations  of  a 
cylinder  longitudinally  la¬ 
minated. 


74  DECORATIVE  TURNING 

lines)  is  clearly  shown  in  the  section.  When  all 
the  parts  are  built  up  and  securely  glued  together, 
the  completed  block  has  to  be  accurately  centred  in 
the  lathe  and  turned  to  the  size  and  form  required. 
The  finished  appearance  is  shown  at  A.  Pieces  of 
this  class  can  be  inclosed  between  transverse  lamina¬ 
tion  with  good  effect.  As  in  transverse  lamination, 
longitudinal  lamination  can  be  executed  in  any 
combination  of  coloured  woods,  analogous  or  con¬ 
trasting  ;  it  can  be  enriched  with  both  plain-  and 
pattern-studding  in  any  tasteful  manner. 


CHAPTER  V 


DECORATION  BY  THE  PROCESS  OF 
GEOMETRICAL  INLAYING 


CHAPTER  V 


DECORATION  BY  THE  PROCESS  OF 
GEOMETRICAL  INLAYING 

HE  process  of  decorative  turning,  to  the  full 


1  description  of  which  the  present  Chapter  is 
devoted,  is  somewhat  more  difficult  and  exacting 
in  its  successful  performance  than  either  of  the  pro¬ 
cesses  described  in  the  preceding  two  Chapters  ;  but, 
at  the  same  time,  its  results  are  much  more  effective 
and  beautiful  than  any  that  can  possibly  be  pro¬ 
duced  by  means  of  studding  or  lamination,  alone 
or  in  combination. 

The  process  now  under  consideration  is  properly 
designated  geometrical  inlaying ,  because  the  coloured 
woods  and  ivory  employed  are  laid  or  inserted  into 
each  other,  and  invariably  produce,  if  artistically 
arranged,  geometrical  forms  or  devices.  Geometrical 
inlaying  is  strictly  a  product  of  the  lathe,  in  so  much 
that  all  the  work  necessary  for  its  production  can 
be  executed  in  the  lathe,  if  considered  desirable, 
with  the  single  exception  of  the  glueing  of  the 
parts  together  as  they  are  turned  and  bored.  But 
it  is  neither  necessary,  nor  in  all  cases  desirable,  for 


77 


78 


DECORATIVE  TURNING 


the  lathe  to  be  resorted  to  exclusively,  as  will  be 
explained  later.  As  all  the  elements  employed  in 
the  production  of  a  work  of  geometrical  inlaying 
are  originally  or  finally  of  a  circular  form,  it  might 
reasonably  be  supposed,  on  first  thoughts  at  least, 
that  little  variety  could  obtain  in  its  designs ;  but 
in  reality  there  is  a  very  wide  field  for  the  inven¬ 
tion,  ingenuity,  and  taste  of  the  turner.  Designs 
can  be  produced  in  almost  endless  variety,  due  to 
the  different  arrangements  and  respective  propor¬ 
tions  of  the  several  circular  elements,  in  combina¬ 
tion  with  the  varied  effects  of  colour  produced  by 
the  association  of  the  many  coloured  woods  and 
ivory  at  the  disposal  of  the  turner.  A  glance  at 
the  plates  which  illustrate  this  branch  of  decorative 
turnery  will  go  far  to  satisfy  the  reader  of  the  truth 
of  the  statement  just  made,  while  their  designs  will 
point  the  way  to  further  treatments  and  combina¬ 
tions.  The  designs  and  colour-combinations  are 
most  readily  produced  on  flat  surfaces,  but  slightly 
convex  surfaces  can  be  adopted  if  considered  more 
suitable  for  the  article  to  be  decorated.  In  all 
cases,  so  far  as  legitimate  turning  is  concerned,  the 
surfaces  are  in  the  form  of  circular  medallions,  as 
shown  in  the  plates.  Flat  medallions  are  most 
suitable  for  insertion  in  articles  of  furniture  or  in 
any  flat  surface  ;  while  convex  medallions  form 
beautiful  decorations  for  the  lids  of  circular  boxes, 


PROCESS  OF  GEOMETRICAL  INLAYING  79 

produced  in  the  lathe,  and  which  may  be  further 
enriched  with  lamination  and  plain-  or  pattern- 
studding  ;  this  the  practical  turner  will  very  readily 
understand.  Both  flat  and  convex  medallions,  when 
used  singly,  can  be  inserted  in  flat  surfaces ;  but 
combinations  of  medallions,  such  as  are  represented 
in  Plates  X.,  XI.,  and  XII.,  are  suitable  for  insertion 
in  flat  surfaces  only.  At  the  same  time  it  may  be 
pointed  out  that,  while  the  medallions  surrounding 
the  central  one  must  be  flat,  there  is  no  reason  why 
the  central  one  should  not  be  slightly  convex  or  flat, 
and  slightly  raised  (say  ^  inch)  above  the  surface  of 
the  other  medallions.  All  flat,  single,  or  compound 
medallions,  can  be  inserted  flush  with  the  general 
surface  of  the  article  decorated,  or  slightly  relieved 
from  the  same  ;  but  for  useful  articles  of  furniture 
the  flush  method  is  to  be  strongly  recommended, 
while  in  many  cases  it  is  imperative :  this  matter 
will  be  more  fully  touched  upon  when  we  speak  of 
the  practical  application  of  geometrical  inlaying. 

Single  circular  medallions  are  not  only  more 
quickly  made,  but  are  of  much  more  general  use 
when  applied  to  turned  works  and  articles  of 
furniture,  than  the  compound  forms.  But  most 
beautiful  and  artistic  effects  are  produced  by  the 
geometrical  arrangement  of  lesser  medallions  around 
a  larger  central  one.  Such  arrangements  will  readily 
produce  trefoils,  quatrefoils  (as  shown  in  Plates  X., 


8o 


DECORATIVE  TURNING 


XI.,  and  XV.),  or  sexfoils  (as  shown  in  Plate  XII.)  : 
even  a  greater  number  of  surrounding  medallions  can 
be  employed,  when  they  will  necessarily  be  smaller 
in  diameter  and  simpler  in  design,  somewhat  after 
the  fashion  shown  in  the  interior  of  the  lower 
medallion  in  Plate  IX.  These  lesser  surrounding 
medallions  may,  instead  of  being  cut  into  by  the 
central  medallion,  be  placed  completely  free  of  it, 
when  they  assume,  strictly  considered,  the  place  and 
office  of  decorative  studding :  this  disposition  is 
highly  suitable  for  the  decoration  of  articles  of 
furniture  which  present  plain  surfaces  of  considerable 
size,  adapted  for  the  reception  of  such  inlays. 

While  single  circular  medallions  permit  of  a  great 
number  of  designs  and  colour-combinations,  of  which 
the  eleven  given  on  the  accompanying  plates  convey 
some  idea,  the  compound  medallions,  in  their  forms 
and  proportions,  in  the  designs  of  their  inner  and 
outer  portions,  and  in  their  different  coloured  woods, 
present,  as  has  already  been  stated,  a  practically 
unlimited  source  of  variety.  It  is  remarkable  to  find 
how  completely  different  the  same  design  appears 
when  executed  respectively  in  harmonies  of  contrast 
and  analogy,  or  in  the  same  woods  counterchanged  in 
their  relative  positions. 

It  will  be  observed,  on  examining  the  medallions 
represented  on  Plates  VII.,  VIII.,  IX.,  and  X.,  that  in 
the  process  of  geometrical  inlaying,  studding  is  largely 


PROCESS  OF  GEOMETRICAL  INLAYING  81 


resorted  to,  to  enrich  broad  belts  and  the  spandrils 
created  by  the  foliated  designs ;  and  in  the  lower 
medallion  in  Plate  XIII.  lamination  is  indicated.  In¬ 
deed,  all  the  ornamental  work  in  this  process  may 
be  considered  as  studding  carried  to  its  highest  de¬ 
velopment,  and  on  the  largest  scale  desirable  for 
ordinary  decorative  purposes.  In  the  circular  medal¬ 
lion  in  Plate  IV.,  and  in  the  compound  quatrefoil 
medallions  in  Plate  X.,  plain-studding  appears  in  the 
main  belts  or  rings,  producing  very  striking  effects  : 
these  designs,  however,  are  not  dependent  on  the 
studding,  for  they  would  be  perfectly  satisfactory 
without  it.  The  introduction  of  single  studs  in 
the  spandrils  has  always  a  good  effect.  In  the 
majority  of  designs  their  presence  is  certainly  a  gain, 
as  will  be  realised  on  glancing  at  the  medallions  given 
in  Plate  IX.,  and  still  more  notably  in  Plate  VII.,  in 
which  large  inlaid  studs  are  shown  in  the  spandrils 
of  the  trefoil  and  quatrefoil. 

Before  specially  commenting  on  the  designs  of 
the  several  simple  and  compound  medallions,  and 
giving  suggestions  respecting  the  appropriate  woods 
to  be  employed  in  their  construction,  it  is  desirable 
that  the  reader  should  be  made  acquainted  with  the 
method  of  fabricating  them  in  the  lathe,  with  the 
occasional  use  of  the  brace  and  bits.  The  method 
to  be  followed  in  fabricating  all  the  geometrically- 
inlaid  medallions  illustrated  in  the  accompanying 


82 


DECORATIVE  TURNING 


plates  is  extremely  simple,  while,  perhaps,  more  than 
ordinary  skill,  care,  and  patience  are  called  for  in  the 
accurate  execution  of  their  designs ;  but  experience 
has  taught  us  that,  to  use  a  trite  saying,  reversed, 
the  game  is  worth  the  candle.  In  the  first  place  it 
is  essentia]  that  a  correct  drawing  be  made  of  the 
design  to  be  carried  out,  so  that  all  the  component 
parts  may  be  made  accurately  to  scale,  and,  in  the 
case  of  the  smaller  inlays  and  studdings,  to  suit  the 
sizes  of  the  available  brace-bits,  the  use  of  which  is 
called  for  in  the  foundation  of  the  trefoil,  quatre- 
foil,  and  other  foliated  patterns1  and  studdings 
shown  in  the  plates.  All  the  concentric  rings 
and  fields  of  the  medallions  are,  of  necessity,  formed 
in  the  lathe,  and  on  the  simple  wood-chucks  de¬ 
scribed  in  the  preceding  Chapter  in  connection  with 
the  formation  of  laminated  mouldings.  On  these 
wood  -  chucks  are  prepared  such  plain  or  inlaid 
members  as  are  required  in  the  production  of  the 
foliated  medallions  represented  in  the  several  plates. 
These  members  are  subsequently  inserted  in  the  holes 

1  If  the  holes  for  the  reception  of  these  inlays  are  to  be  bored 
by  means  of  revolving  cutters  in  the  lathe,  through  the  agency  of  the 
dividing-plate,  slide-rest,  and  overhead-motion,  it  is,  of  course, 
obvious  that,  in  preparing  the  design,  no  necessity  exists  for  confining 
them  to  any  special  size,  as  must  be  the  case  when  brace-bits  of  the 
most  desirable  kind  are  to  be  used.  It  may  be  remarked,  however, 
that  if  the  “paten,:  expansion  bit”  is  used,  all  objection  to  the  work  of 
the  hand  brace  is  removed  ;  these  bits  cannot  be  used  for  boring 
small  holes,  such  as  are  required  for  studding  of  the  size  introduced 
in  medallions. 


PROCESS  OF  GEOMETRICAL  INLAYING  83 


bored  for  their  reception  in  the  field  of  the  medal¬ 
lion  proper,  while  it  remains  attached  to  its  wood¬ 
chuck.  In  the  expeditious  production  of  some  of 
the  more  elaborate  medallions  shown,  and  especially 
those  of  compound  form,  numerous  wood-chucks 
will  be  required ;  but  as  these  are  only  small  pieces 
of  common  wood,  their  number  is  a  matter  of 
little  importance :  saving  of  time  is  the  chief  con¬ 
sideration  in  high-class  and  exacting  work  of  this 
description. 

After  the  design  has  been  drawn  correctly,  the 
next  proceeding  is  to  attach  the  piece  of  ebony  or 
other  wood,  which  is  to  form  the  marginal-ring  and 
the  foundation  for  all  the  inlays  to  the  surface  of 
a  suitable  wood-chuck,  with  an  intervening  layer  of 
thick  paper,  as  described  in  the  preceding  chapter.  This 
piece  of  wood  should,  under  ordinary  circumstances, 
not  be  less  than  ^  inch  in  thickness,  for  it  has  to 
receive  all  the  inlays  that  compose  the  design,  while 
it  retains  a  substantial  character  in  itself.  When  the 
piece  has  been  turned  to  near  its  required  diameter, 
and  its  surface  has  been  trued,  the  marginal-ring  must 
be  formed  by  sinking  the  rest  of  the  surface  to  the 
depth  of  |  inch.  At  this  point  it  is  desirable  to  refer 
to  the  accompanying  illustration,  Fig.  4,  in  which 
is  given  a  series  of  diagrams,  in  section,  indicating 
the  several  steps  necessary  in  the  formation  of  the 
medallion  which  is  partly  shown,  in  outline,  in 


84 


DECORATIVE  TURNING 


Diagram  I.  Diagram  II.  is  a  section  of  the  ebony  foun¬ 
dation-disc,  just  described,  showing  its  marginal-ring 
A,  formed  by  the  sinking  of  the  rest  of  its  surface. 
At  the  stage  now  reached,  the  chuck  must  be  removed 
from  the  lathe,  and  another  chuck  screwed  on,  which 
has  glued  on  its  face  the  piece  of  boxwood,  or  some 
other  light-coloured  wood,  which  is  to  form  the  inner 
marginal-ring  B.  This  piece  must  be  carefully  turned 
to  accurately  fit  the  sinking  in  the  ebony  disc,  in  the 
manner  indicated  in  Diagram  III.,  and  after  being 
sliced  from  its  chuck,  must  be  glued  into  the  sinking 
in  the  ebony  disc.  The  first  chuck  must  now  be 
returned  to  the  lathe,  and  after  the  boxwood  insertion 
is  brought  flush  with  the  ebony,  it  must  have  its 
interior  part  turned  out,  leaving  the  inner  ring  B, 
as  indicated  in  Diagram  I.  The  next  piece  to  be 
prepared  and  inserted  is  that  which  is  to  form  the 
general  ground  C  of  the  medallion,  and  this  will 
necessarily  be  of  some  richly-coloured  wood,  such  as 
padouk  or  purple-wood.  The  piece  must  be  glued 
in  the  usual  manner  to  another  wood-chuck,  and 
turned  so  as  to  accurately  fit  the  sinking  within  the 
inner  marginal-ring  B,  as  indicated  in  Diagram  V. 
When  the  piece  is  glued  in  place,  and  its  surface 
turned  level  and  smooth,  it  is  ready  to  receive  the 
design  of  the  further  inlays.  The  design  should  be 
accurately  drawn  on  a  piece  of  paper  cut  circular  to 
the  exact  size  of  the  medallion,  and  pasted  evenly  on 


PROCESS  OF  GEOMETRICAL  INLAYING  85 


Fig.  4.— Diagrams  showing  the  construction  of  an  inlaid  medallion. 


86 


DECORATIVE  TURNING 


its  turned  surface.  This  not  only  furnishes  a  perfect 
guide  in  the  boring  operations,  but  greatly  tends  to 
prevent  chipping  of  the  edges  of  the  holes  when  first 
cut  by  the  centre-bits.  Before  using  the  bits,  the 
centres  marked  on  the  paper  should  be  deeply  pricked 
into  the  ground  with  a  sharp-pointed  awl,  so  as  to 
properly  hold  the  centre-points  of  the  bits  in  correct 
position.  Too  much  care  cannot  be  taken  in  this 
direction,  for  the  slightest  deviation  from  the  truth 
will,  in  all  likelihood,  ruin  the  medallion,  or  at  least 
destroy  its  beauty.  Of  course,  if  the  boring  is  exe¬ 
cuted  in  a  high-class  lathe,  with  its  dividing-plate 
and  revolving  cutters,  perfect  accuracy  will  be  secured  ; 
but  satisfactory  work  from  the  hand  of  an  artist  is, 
in  our  opinion,  much  to  be  preferred  to  anything 
produced  by  automatic  machinery.  We  may  just 
mention  the  fact  that  all  the  beautiful  work  of  this 
class  executed  by  the  late  W.  J.  Audsley  was  entirely 
the  product  of  the  hand  and  the  simple  wood-lathe. 
When  the  six  holes,  required  in  the  formation  of  the 
sexfoil  indicated  in  Diagram  I.,  are  bored  through 
the  ground-piece  C,  down  to  the  foundation-disc  A, 
as  shown  in  Diagram  VI.,  they  are  ready  to  receive  the 
circular  inlays,  two  of  which  are  shown  at  D,  oppo¬ 
site  their  holes,  in  Diagram  VII.  These  circular  inlays, 
which  may  be  of  satin-wood  if  purple-wood  is  used 
for  the  ground-piece  C,  or  of  laburnum  if  the  ground- 
piece  is  of  padouk,  can  be  turned  on  independent 


PROCESS  OF  GEOMETRICAL  INLAYING  87 

wood-chucks,  or  in  the  manner  recommended  for 
studs  and  illustrated  in  Fig.  1.  When  accurately 
fitted  they  must  be  glued  into  their  holes,  and 
subsequently  turned  down  flush  with  the  existing 
surface  of  the  medallion,  which  for  that  purpose  has 
been  replaced  in  the  lathe.  The  next  operation  is 
to  turn  out  the  ground  and  portions  of  the  foliation- 
pieces  to  admit  of  the  circular  inlay  which  is  to  form 
the  ring  E,  indicated  in  Diagram  I.  In  Diagram  VIII. 
a  section  of  the  medallion  is  given  at  this  stage  ;  and 
opposite  its  sinking  is  the  inlay  E,  in  Diagram  IX. 
This  inlay  may  be  of  rosewood  if  the  foliation  is 
of  satin-wood.  When  the  inlay  has  been  accurately 
fitted  and  glued  in,  its  surface  must  be  turned  flush 
with  the  rest  of  the  medallion  ;  and  then  its  central 
portion  must  be  turned  out  so  as  to  form  the  inner 
ring,  indicated  at  E,  in  Diagram  I.,  and  as  shown,  in 
section,  in  Diagram  X.  The  whole  medallion  is 
completed  by  the  insertion  of  the  small  central  inlay 
F,  in  Diagram  I.,  and  in  the  section  given  in  Diagram 
XI.  It  will  be  seen  in  the  above  description  that, 
in  the  entire  process  of  constructing  the  medallion,  the 
brace  and  bit  are  used  only  in  boring  the  six  holes  for 
the  reception  of  the  inlays  forming  the  foliation,  every 
other  sinking  required  being  cut  in  the  lathe,  in  the 
easiest  manner,  and  with  the  ordinary  hand-tools. 
Although  the  medallion  described  is  of  a  simple 
character,  and  very  similar  in  general  design  to  that 


88 


DECORATIVE  TURNING 


of  the  lower  medallion  in  Plate  VI.,  the  description 
of  its  formation  practically  covers  all  the  processes 
required  in  the  production  of  the  more  elaborate 
medallions  represented  in  the  other  plates,  with  the 
single  exception  of  the  process  of  studding,  to  which 
we  have  devoted  a  chapter.  But  as  no  direct  allusion 
is  made  in  that  chapter  to  studding  disposed  in  flat, 
circular  rings,  such  as  appears  in  the  medallions 
illustrated  in  Plates  X.,  XII.  and  XIV.,  we  may 
remark  here  that  very  special  care  must  be  exercised 
in  pricking  the  centres  for,  and  in  boring,  the  stud- 
holes  which  have  to  be  so  close  together.  This  care 
is  necessary  because  the  slightest  irregularity  is  very 
observable  in  such  circular  dispositions;  and  there  is 
always  a  probability,  in  certain  woods  at  least,  of 
chipping  between  the  holes,  unless  the  ring  is  end- 
grain,  when  ordinary  care  and  keen  bits  can  be 
depended  upon.  Such  woods  as  ebony  and  boxwood 
present  no  difficulties  in  this  direction.  In  boring 
such  rings  as  are  shown  studded  in  Plates  X.  and 
XIV.,  it  is  obvious  that  the  most  perfect  work  will 
be  performed  by  the  use  of  the  high-class  lathe  with 
its  dividing-plate,  slide-rest,  and  automatic  cutters  or 
drills.  When  the  medallion  is  completed  so  far  as 
all  its  inlays  are  concerned,  with  or  without  studding, 
its  entire  face  has  to  be  carefully  turned  flat,  and 
brought  to  a  dead  level  by  holding  against  it  a  piece 
of  plate  glass  on  which  fine  glass-paper  has  been 


PROCESS  OF  GEOMETRICAL  INLAYING  89 

pasted ;  a  few  revolutions  of  the  medallion  will 
remove  any  inequalities.  The  edge  of  the  medallion 
must  now  be  turned  to  the  exact  diameter  required  ; 
and  when  its  face  is  polished,  so  as  to  bring  out  the 
full  colours  of  the  woods  employed,  it  can  be  sliced 
from  its  wood-chuck  and  used  for  the  purpose  for 
which  it  was  designed. 

In  the  following  notes  are  given  suggestions  for 
the  combinations  of  coloured  woods  suitable  for  the 
most  effective  rendering  of  all  the  medallions  repre¬ 
sented  in  the  plates  belonging  to  the  present  Chapter. 

Plate  VI. — The  upper  medallion  to  have  its 
marginal-ring  of  ebony  ;  its  ground  of  amboyna  or 
laburnum,  with  the  foliation-pieces  and  studs  of  box¬ 
wood  or  satin-wood  ;  the  inner  black  ring  of  ebony, 
inclosing  rings  of  tulip-wood  and  laburnum,  and  the 
centre-stud  of  ruby-wood  or  some  other  red  wood. 

The  lower  medallion  to  have  its  marginal-ring  of 
ebony,  with  the  light  ring  adjoining  it  of  holly  1 ;  its 
ground  of  tulip-wood  or  thuja,  with  foliation-pieces 
and  the  rings  connecting  them,  as  shown,  of  boxwood 
or  satin-wood  ;  its  inner  black  ring  of  rosewood  or 
ebony,  inclosing  a  ring  of  laburnum,  and  the  centre- 
stud  of  ruby-wood  or  bright  padouk. 

1  As  holly  cannot  be  easily  procured  above  J  inch  in  thickness, 
it  may  be  found  advisable,  if  not  necessary,  to  glue  it  (crosswise)  to 
another  thin  piece  of  wood,  so  as  to  enable  it  to  fill  up  the  depth  of 
the  sinking  in  the  ebony  foundation-disc,  and  allow  of  the  necessary 
surface  turning  when  inlaid. 


9° 


DECORATIVE  TURNING 


Plate  VII. — The  upper  medallion  to  have  its 
marginal-ring  of  ebony ;  its  ground  of  fustic  or 
laburnum  ;  its  four  studs  of  ebony  with  ivory  centres  ; 
and  its  four  foliation-pieces,  having  their  outer  rings 
of  ebony,  inclosing  the  white  rings  of  ivory  or  holly  ; 
the  inner  rings  of  padouk,  and  the  centre-studs  of 
satin-wood.  The  central  portion,  which  cuts  into  the 
foliation-pieces,  to  have  its  treatment  the  same  as  that 
of  the  foliation-pieces. 

The  lower  medallion  to  have  its  marginal-ring  of 
ebony,  with  the  light  ring  adjoining  it  of  satin-wood 
or  boxwood  ;  and  its  ground  of  thuja  or  padouk, 
studded  with  ivory  inlaid  with  ebony.  The  foliation- 
pieces  to  be  formed  with  rings  of  boxwood,  rosewood, 
and  ivory  or  holly,  with  centre-studs  of  purple- 
wood  or  calemberg.  The  central  portion  to  have 
rings  of  ebony,  ivory  or  holly,  and  tulip-wood,  and  its 
centre-stud  of  rosewood  or  green  ebony. 

Plate  VHP — The  upper  medallion  to  have  its 
marginal-ring  of  ebony  or  rosewood,  with  the  light 
ring  adjoining  it  of  boxwood,  and  its  ground  of 
calemberg  or  green  ebony,  studded  with  boxwood 
inlaid  with  ebony.  The  four  foliation-pieces  to  be 
formed  with  outer  rings  of  boxwood,  inner  rings  of 
ebony,  and  centre-studs  of  tulip-wood.  The  central 
portion  to  have  its  outer  ring  of  ebony,  its  inner  ring 
of  boxwood,  and  its  centre  of  ruby-wood  or  rich 
padouk. 


PROCESS  OF  GEOMETRICAL  INLAYING  91 


The  lower  medallion  presents,  in  its  design,  oppor¬ 
tunities  for  fine  effects  in  harmonies  of  analogy, 
accentuated  by  contrasts.  Its  marginal-ring  to  be  of 
ebony,  and  its  ground  of  holly,  studded  with  rose¬ 
wood.  The  dark  rings  of  the  outer  members  of  the 
foliated  or  flower-like  design  to  be  of  rosewood. 
Between  these  rings  and  the  central  ring,  the  three 
series  of  members,  shown  in  different  shades,  should 
be  of  three  woods  of  analogous  colours,  such  as  ruby- 
wood,  bright  padouk,  and  tulip-wood  ;  or  green  ebony, 
calemberg,  and  clear  laburnum  ;  an  arrangement  of 
orange  and  yellow  woods  may  also  be  introduced  in 
an  effective  manner.  The  central  portion  to  have  its 
outer  ring  of  ebony,  its  inner  ring  of  holly,  studded 
with  rosewood,  and  its  centre-stud  of  purple-wood 
or  king-wood. 

Plate  IX. — The  upper  medallion  to  have  its  outer 
medallion  of  ebony,  and  its  ground  of  satin-wood, 
studded  with  rosewood.  The  six  foliation-pieces  to 
have  their  rings  of  ebony  and  ivory,  and  their  centres 
of  ruby-wood  or  very  rich  padouk.  The  central 
disc  to  have  its  rings  of  ebony  and  boxwood,  and  its 
field  of  green  ebony,  with  the  foliation  of  boxwood, 
and  the  centre-stud  of  violet-wood. 

The  lower  medallion  to  have  its  marginal-ring  of 
ebony ;  its  ground  of  thuja,  studded  with  ivory ;  and 
its  foliation-pieces,  ringed  with  ivory  or  holly,  and 
filled  in  with  laburnum  or  satin-wood.  The  inner 


92 


DECORATIVE  TURNING 


disc  to  have  its  outer  ring  of  ebony,  its  second  ring 
of  canary-wood,  studded  with  green  ebony  or  purple- 
wood  ;  its  third  and  fourth  rings  of  ebony  and  ivory, 
and  its  central  portion  of  boxwood,  canary-wood,  and 
beef-wood,  or  violet-wood. 

Plate  X. — The  upper  compound  medallion,  com¬ 
posed  of  five  separately  formed  small  medallions,  can 
only  assume  its  complete  quatrefoil  shape  when  inlaid 
into  the  woodwork  of  some  piece  of  furniture,  as 
indicated  in  the  back  rail  of  the  settee  illustrated  in 
Plate  XX.  In  this  example  the  four  medallions 
forming  the  quatrefoil  can  have  their  marginal-rings 
of  ebony ;  their  second  rings  of  thuja  or  light  padouk, 
studded  with  ivory  ;  their  third  rings  of  ivory  or  holly  ; 
their  fourth  rings  of  ebony  ;  and  their  centre  studs 
of  laburnum.  The  central  medallion  can  have  its 
marginal-ring  of  ebony,  with  the  light  ring  adjoining 
of  boxwood  ;  its  ground  of  pure-toned  calemberg  ;  its 
foliation-pieces  of  holly  or  ivory  ;  and  its  central  piece 
of  ebony  and  rich  padouk  or  ruby-wood.  The  four 
small  detached  studs  to  be  of  ebony  inlaid  with  box¬ 
wood. 

The  lower  compound  medallion  to  be  formed 
in  the  manner  above  described.  The  four  medallions 
forming  the  quatrefoil  can  have  their  marginal-rings 
of  ebony  or  rosewood  ;  their  second  rings  of  satin- 
wood  or  boxwood,  studded  with  purple-wood  or 
dark  padouk ;  their  third  and  fourth  rings  of  ebony 


PROCESS  OF  GEOMETRICAL  INLAYING  93 

or  rosewood  and  ivory ;  and  their  centre-studs  of 
calemberg  or  dark  laburnum.  The  central  medallion 
can  be  carried  out  in  the  manner  just  described  for 
the  four  smaller  medallions,  with  the  exception  of 
its  centre-stud,  which  should  be  of  bright  red 
padouk  or  thuja,  to  contrast  with  the  other  greenish 
centre-studs.  The  four  detached  studs  to  be  of 
ebony. 

Plate  XI. — In  this  plate  are  given  two  designs 
for  very  elaborate  compound  medallions,  which  need 
only  be  inlaid  in  very  special  pieces  of  decorative 
furniture.  The  upper  example  can  have  its  four 
outer  medallions  formed  with  marginal-rings  of 
ebony ;  their  second  rings  being  of  canary-wood 
or  bright  yellow  fustic ;  and  their  inner  rings  of 
ebony.  The  grounds  within  these  inner  rings  can 
be  of  light  boxwood,  having  the  foliation-piece  of 
violet-wood  or  purple-wood ;  and  the  centre-studs 
should  be  of  ivory,  as  indicated.  The  central 
medallion  to  have  its  marginal-ring  of  ebony ;  its 
ground  of  light  boxwood  ornamented  with  ebony 
studs,  partly  cut  away,  and  joined  together  by  a 
narrow  ebony ,  ring.  Within  this  are  three  rings, 
formed  of  ivory,  ebony,  and  satin-wood,  and  a  centre- 
stud  of  violet-wood  or  very  rich  padouk. 

The  lower  compound  medallion  can  have  its 
four  outer  medallions  formed  with  marginal-rings 
of  ebony,  having  the  two  inner  rings  of  holly  and 


94 


DECORATIVE  TURNING 


rosewood.  Their  grounds,  within  these  rings,  to  be 
of  choice  laburnum  or  rich  satin-wood  studded  with 
ivory ;  the  foliation-pieces  to  be  of  ivory  inlaid 
with  ruby-wood  or  rich  padouk ;  and  the  centre- 
studs  of  ebony.  The  larger  central  medallion  to 
have  its  marginal  ring  of  ebony,  having  its  inner 
rings  of  holly  and  rosewood  ;  its  ground  to  be 
choice  thuja  studded  with  ivory ;  and  its  foliation- 
pieces  of  ivory  inlaid  with  green  ebony  or  dark 
calemberg.  The  centre-stud  to  be  of  ebony,  ivory, 
and  rich  ruby-wood.  A  compound  medallion  of  this 
design  admits  of  an  endless  variety  of  combinations. 

Plate  XII. — In  this  plate  are  given  two  designs 
for  compound,  sexfoil  medallions,  which  are  very 
suitable  for  particularly  rich  decoration,  and  where 
large  medallions  are  required  without  the  produc¬ 
tion  of  an  undesirably  heavy  effect. 

The  upper  compound  medallion  can  have  its 
six  outer  medallions  with  marginal-rings  of  ebony, 
having  inner  rings  of  boxwood.  The  grounds, 
within  these  rings,  to  be  of  rich  thuja  or  padouk, 
or,  if  a  subdued  effect  is  desired,  of  amboyna,  calem¬ 
berg,  or  green  ebony.  The  foliation-pieces  to  be 
of  ivory  or  holly,  and  the  central  studs  of  ebony 
or  rosewood.  The  larger  central  medallion  to  have 
its  marginal-ring  of  ebony  ;  its  adjoining  broad  ring 
of  satin-wood  studded  with  violet-wood  or  rosewood  ; 
its  inner,  narrow  ring  of  ebony  ;  and  its  ground  of 


PROCESS  OF  GEOMETRICAL  INLAYING  95 

ruby-wood,  having  the  sexfoil  of  ivory  or  holly, 
and  the  centre-stud  of  ebony  or  rosewood. 

The  lower  compound  medallion  is  designed  to 
furnish  a  favourable  field  for  the  display  of  harmonies 
of  analogy.  The  six  outer  medallions  to  have  their 
marginal-rings  of  ebony  ;  and  within  these  the  three 
zones  can  be  inserted  in  any  three  woods  of  analogous 
colours  and  graduated  tones,  such  as  satin-wood, 
deep  canary-wood,  and  zebra-wood  ;  tulip-wood,  thuja, 
and  Brazil-wood ;  or  fustic,  laburnum,  and  green 
ebony  or  dark  calemberg.  In  all  cases  the  centre- 
studs  to  be  of  ebony.  Within  the  ebony  marginal¬ 
ring  of  the  larger,  central  medallion,  the  same  analo¬ 
gous  colour-treatment  is  to  obtain  ;  but  the  graduated 
colours  in  the  ground  of  the  medallion  should 
contrast  with  the  graduated  colours  of  the  outer 
medallions  ;  that  is,  if  the  harmonies  of  red  obtain 
in  the  outer  medallions,  the  harmonies  of  green 
should  be  adopted  for  the  central  ground,  and  vice 
versa.  The  colours  in  the  trefoil,  graduated  in 
themselves,  should  contrast  with  those  of  the  ground  ; 
its  marginal-rings  to  be  of  ivory.  With  a  careful 
selection  of  woods  of  equally  graduated  tones,  and 
with  an  equally  careful  selection  of  contrasting 
colours  for  the  inner  and  outer  medallions,  a  very 
artistic  and  refined  result  can  be  produced. 

Plate  XIII. — In  the  upper  compound  medallion 
shown  in  this  plate,  a  much  more  favourable  field 


DECORATIVE  TURNING 


96 

for  the  display  of  harmonies  of  analogy  is  offered  to 
the  turner  than  that  furnished  by  the  lower  medallion 
in  the  preceding  plate.  In  its  design,  an  entirely 
different  treatment  obtains  in  the  four  outer  medallions 
from  that  presented  by  all  the  medallions  previously 
described  :  this  difference  exists  in  the  eccentric  dis¬ 
position  of  their  inlays,  producing  a  shell-like  effect. 
Respecting  the  selection  and  graduation  of  the 
coloured  woods,  the  suggestions  given  in  the  pre¬ 
ceding  description  should  be  observed ;  but  in  the 
present  case  four  gradations  are  introduced  in  the 
outer  medallions,  which  will  call  for  a  more  careful 
selection  of  the  coloured  woods.  It  may  be  re¬ 
marked  that  this  treatment  may  be  abandoned  in 
favour  of  contrasting  effects,  secured  by  the  alternate 
introduction  of  contrasting  woods  in  the  eccentric 
inlays:  this  will  be  fully  realised  by  the  turner 
who  has  read  our  manual  up  to  this  point.  The 
central  medallion  calls  for  no  special  comment,  its 
colour-treatment  being  dictated  by  that  adopted  for 
the  outer  medallions. 

The  lower  compound  medallion  introduces  another 
departure  in  decorative  treatment ;  namely,  the  in¬ 
troduction  of  lamination  in  the  grounds  of  the  four 
outer  medallions.  The  mode  in  which  these  laminated 
inlays  are  produced  will  be  understood  on  referring 
to  the  description  of  longitudinal  lamination  and  its 
attendant  illustration,  Fig.  3,  given  in  Chapter  IV. 


PROCESS  OF  GEOMETRICAL  INLAYING  97 

The  marginal -rings  of  the  four  outer  medallions  to 
be  of  ebony,  and  the  inner  rings  of  satin-wood 
and  ebony;  their  grounds  to  be  of  laburnum  or 
calemberg ;  and  their  laminated  bars  of  rosewood, 
ivory,  and  ruby-wood  or  the  richest  padouk.  The 
central  medallion  to  have  its  marginal-ring  of  ebony  ; 
its  ground  of  thuja,  studded  with  ivory ;  its  foliation- 
pieces  of  ivory  and  green  ebony  ;  and  its  central  disc 
of  ebony,  ivory,  and  ruby-wood,  as  indicated. 

Plate  XIV. — This  plate  illustrates  the  colour- 
treatment  of  medallions  which  have  to  be  inserted 
in  a  dark  wood,  such  as  walnut  or  mahogany.  For 
such  a  purpose  the  marginal-rings  should  in  all 
cases  be  lighter  than  the  wood  in  which  they  are 
inserted,  if  richness  of  effect  is  desired  ;  but  when 
a  subdued  effect  is  aimed  at,  and  the  wood  is  not 
very  dark,  the  marginal-rings  may  be  of  ebony. 
The  medallion  illustrated  as  inserted  in  walnut 
may  have  its  marginal-ring  of  boxwood  or  satin- 
wood  ;  its  broad  black  ring  of  ebony,  studded  with 
ivory  or  holly ;  its  third  ring  of  boxwood  ;  and  its 
ground  of  selected  purple-wood.  The  foliation- 
pieces  and  their  connecting-ring  to  be  of  satin-wood. 
The  inner  disc  to  be  of  ebony,  laburnum,  and  ruby- 
wood  or  rich  padouk. 

Plate  XV. — -The  compound  medallion  in  this 
plate  is  another  illustration  of  insertion  in  a  dark 
wood  ground.  The  marginal-rings  of  the  outer 

G 


98 


DECORATIVE  TURNING 


medallions  to  be  of  boxwood ;  the  second  rings 
of  ruby-wood ;  the  third,  narrow  black  rings  of 
ebony,  and  the  grounds  of  tulip-wood.  The 
foliation-pieces  to  be  of  ivory  or  holly  and  the 
centre-studs  of  green  ebony.  The  central  medallion 
to  have  its  marginal-ring  of  ebony ;  its  adjoining 
ring  of  boxwood  ;  and  its  ground  of  rich  thuja,  or, 
if  a  more  decided  contrast  is  desired,  of  choice 
laburnum  or  light  calemberg.  The  centre-stud  to 
be  of  ebony,  and  either  ruby-wood  or  calemberg  to 
contrast  with  the  wood  selected  for  the  ground. 

Plate  XXI. — -This  plate  presents  two  medallions, 
photo-engraved,  and  printed  by  the  “  three-colour 
process,”  from  actual  examples  of  geometrical  in¬ 
laying,  executed  in  the  lathe  by  Mr.  George  C. 
Audsley,  of  Taplow,  Bucks,  an  expert  amateur 
turner.  The  medallions  are  formed  of  ebony,  box¬ 
wood,  laburnum,  holly,  padouk,  tulip-wood,  and 
king-wood — all  of  which  can  be  readily  distinguished 
in  the  plate — and  are  inserted  in  a  piece  of  quartered 
oak.  In  accuracy  and  beauty  of  execution  they 
leave  nothing  to  be  desired  and  they  clearly  show 
to  what  perfection  an  amateur  turner  can  carry  this 
fascinating  branch  of  artistic  and  decorative  turning. 


CHAPTER  VI 


THE  PRACTICAL  APPLICATION  OF 
POLYCHROMATIC  AND  DECORA¬ 
TIVE  TURNING 


CHAPTER  VI 


THE  PRACTICAL  APPLICATION  OF  POLYCHRO¬ 
MATIC  AND  DECORATIVE  TURNING 

IN  this  chapter  the  turner  will  find  a  few  remarks 
on  the  practical  application  of  works  of  artistic 
and  decorative  turning,  chiefly  with  respect  to  their 
employment  in  the  decoration  and  ornamentation  of 
useful  objects  and  articles  of  household  furniture, 
such  as  are  represented  in  the  plates  which  illustrate 
the  subject.  Were  the  works  produced  by  the  pro¬ 
cesses  and  means  described,  and  also  fully  illustrated 
in  the  preceding  chapters,  confined  to  the  practically 
useless,  and  rarely  beautiful,  class  of  objects  uni¬ 
versally  produced  by  the  purely  mechanical  and  com¬ 
plicated  operations  of  the  high-class  lathe,  with 
its  equally  complicated  automatic  appliances,  there 
would,  we  venture  to  say,  be  little  to  induce  the  turner 
to  devote  his  time  and  skill,  not  to  mention  the 
exercise  of  his  artistic  sense  and  taste,  in  their  fabri¬ 
cation. 

The  class  of  turnery  treated  of  in  the  present 
manual  does  not  encourage  the  production  of  taste¬ 
less  and  useless  objects  requiring  to  be  protected  by 

101 


102 


DECORATIVE  TURNING 


“glass-shades”;  but,  in  an  entirely  contrary  direction,  it 
opens  up  a  wide  field  for  the  exercise  of  ingenuity 
and  handicraftsmanship  in  the  adornment  of  articles 
of  everyday  use.  Furniture  of  the  plainest  and  most 
severe  character,  and  even  of  the  least  expensive  woods, 
can  be  gemmed ,  so  to  speak,  by  products  of  the  lathe. 
A  glance  at  the  five  plates  which  accompany  the 
present  chapter  will  be  sufficient  to  indicate  to  the 
reader  the  direction  in  which  this  gemming  or  adorn¬ 
ment  can  be  applied,  but  no  illustrations  could  convey 
any  adequate  idea  of  the  richness  and  beauty  of  the 
effect  it  produces  in  actual  work  ;  provided,  of  course, 
that  the  lathe-work  is  itself  rich  and  effective  in  colour. 

We  may,  in  the  first  place,  say  a  few  words 
respecting  the  production  of  independent  articles  of 
utility.  An  example  of  the  class  of  articles  alluded  to  is 
furnished  by  the  candlestick  represented  in  Plate  V., 
and  it  will  be  quite  obvious  to  the  turner  that  a 
great  variety  of  beautiful  candlesticks  for  the  adorn¬ 
ment  of  the  sideboard,  mantelpiece,  and  dining-table, 
could  be  made  by  the  use  of  lamination  and  studding, 
after  the  manner  there  illustrated.  As  all  the  processes 
of  decorative  turning  call  for  favourable  fields  for 
the  display  of  their  special  and  unique  colour-effects, 
uniform  and  flat  surfaces  are  always  to  be  preferred  to 
those  which  assume  more  or  less  complex  forms. 
Mouldings,  which  become  highly  effective  under  the 
process  of  lamination,  as  already  shown,  are  the  only 


PRACTICAL  APPLICATION 


103 


exception  to  the  rule  just  advanced.  It  must  be  quite 
evident  to  any  one  versed  in  the  principles  of  decorative 
art,  that  no  elaboration  of  form,  in  any  single  wood, 
could  produce  the  rich  effect  of  the  lamination  indicated 
on  the  shaft  of  the  candlestick  or  on  the  cylinders 
represented  in  Plate  IV.  A  candlestick,  which  can 
be  made  in  many  different  forms,  is  only  one  of  the 
numerous  useful  and  ornamental  articles  that  can  be 
produced  by  the  ingenious  turner,  under  the  decorative 
methods  described  in  the  present  treatise.  Beautiful 
stands  for  valuable  works  of  art,  and  for  flower-holders 
and  electric  lamps  for  table-decoration ;  circular  boxes 
for  holding  jewellery,  and  for  the  toilet-table  and 
many  other  uses  ;  watch-stands,  ring-stands,  card-trays, 
medallion  and  photograph-frames,  and  numerous  other 
articles,  can  be  produced  in  many  varied  forms,  taste¬ 
fully  coloured,  and  more  or  less  richly  decorated  with 
studding  and  geometrical  inlaying.  Lamination,  of 
course,  appearing  in  the  formation  of  the  mouldings, 
and  in  such  places  as  lend  themselves  to  its  legitimate 
introduction. 

But  by  far  the  most  dignified  role  that  can  be 
played  by  the  decorative  turner’s  art  is  that  which 
is  performed  in  beautifying  and  adding  interest  to 
household  furniture.  In  this  direction  the  amateur 
can  spread  himself,  and  proudly  and  permanently 
display  his  taste  and  handicraft.  The  amateur,  and, 
indeed,  the  professional  turner,  may  not  be  able  to 


io4  DECORATIVE  TURNING 

construct  the  articles  of  furniture  he  proposes  to  de¬ 
corate,  but  he  can  either  select  suitable  pieces  already 
made,  or  design  and  have  such  pieces  specially  made 
of  some  comparatively  inexpensive,  solid  wood,  such 
as  oak,  elm,  or  walnut.  We  may  remark  that  a  fine 
quality  of  oak  is  in  all  respects  an  eminently  satis¬ 
factory  wood  for  general  adoption.  When  oak  of 
a  light  or  medium  tint  is  used,  the  decorative  studding 
will  have  to  be  dark,  and  the  inlaid  medallions  must 
have  their  marginal-rings  of  ebony  or  rosewood,  so  as 
to  be  clearly  defined  against  the  oak  ground.  But, 
on  the  other  hand,  when  dark  walnut  is  used  for  the 
furniture,  the  studding  must  be  sufficiently  light  in 
colour  to  be  effective,  and  the  inlaid  medallions  should 
have  their  marginal-rings  of  some  light  wood,  such  as 
boxwood  or  satin-wood,  just  as  are  represented  in  the 
medallions  illustrated  in  Plates  XIV.  and  XV.  (repro¬ 
duced  from  drawings  on  actual  walnut  panels).  It 
here  may  be  remarked,  that  in  the  event  of  any  of  the 
medallions  represented  with  black  marginal-rings  in 
the  foregoing  plates  being  selected,  on  account  of 
their  designs,  for  insertion  in  walnut  or  any  other 
dark-coloured  wood,  it  would  be  necessary  to  change 
their  marginal-rings  to  some  light-coloured  wood, 
and  that  would  call  for  a  complete  re-arrangement  of 
the  woods  required  to  develop  their  designs  in  effective 
colouring.  Such  a  course  would,  however,  not  be  a 
difficult  matter  to  any  one  who  has  studied  the  system 


PRACTICAL  APPLICATION 


J°5 

of  colouring  set  forth  in  all  our  remarks  and  descriptions 
throughout  the  preceding  chapters. 

We  may  conclude  with  a  few  remarks  on  the 
systems  of  decoration  presented  by  the  suggestive 
designs  given  in  the  five  attendant  plates. 

Plate  XVI. — 'The  design  given  in  this  plate  is 
for  an  occasional-table,  the  top  of  which  is  hexagonal, 
and  decorated  with  six  medallions,  properly  of  different 
designs,  although  three  designs,  arranged  alternately, 
would  look  well.  The  medallions  must  be  inlaid 
perfectly  flush  with  the  surface  of  the  top.  The 
six,  shaped  supports  have,  in  addition  to  the  circular 
medallions,  decorations  of  close  and  open  pattern- 
studding,  which  add  very  much  to  the  general  effect. 
All  medallions  should  be  polished. 

Plate  XVII. — The  design  given  in  this  plate  is 
for  another  occasional-table  of  a  different  form  to 
that  above  described.  The  top  is  circular,  with  the 
addition  of  four  semicircular  projections  for  the 
reception  of  the  outer,  circular  medallions,  in  the 
manner  shown.  In  the  centre  of  the  top  is  a  rich, 
circular  medallion,  surrounded  with  plain  ebony  or 
rosewood  studs.  In  finishing  the  surface,  the  studs 
have  to  be  inserted  and  carefully  dressed  flush  before 
the  medallions  are  inserted.  The  studs  will  accord 
with  the  finished  surface  of  the  top,  but  the  medal¬ 
lions  should  be  polished  to  appear  as  gem-like  as 
possible.  The  four,  shaped  supports  are  decorated 


106  DECORATIVE  TURNING 

with  single  circular  medallions  and  two  straight  rows 
of  plain  ebony  or  rosewood  studding :  the  latter  must 
be  treated  in  the  manner  directed  for  the  studding  of 
the  top. 

Plate  XVIII. — The  design  in  the  present  plate 
is  for  a  hall  chair,  preferably  constructed  of  oak. 
In  addition  to  the  decorative  turning,  it  presents 
ordinary  plain  turning  enriched  with  plain  studding 
of  ebony  or  rosewood,  which  lifts  it  somewhat  out 
of  the  commonplace,  everyday  class  of  turnery.  The 
faces  of  the  square  portions  of  the  front  legs  are 
decorated  with  small  compound  medallions  and  de¬ 
tached  studs :  these,  however,  are  not  of  great  im¬ 
portance  in  the  design,  and  may  be  omitted.  The 
back  of  the  chair  is  formed  specially  for  the  effective 
display  of  decorative  turning.  The  centre  of  the 
cross  is  occupied  by  a  richly-ornamented  medallion, 
about  4  inches  in  diameter,  while  four  medallions, 
about  2 1  inches  in  diameter,  decorate  the  shaped 
arms.  The  top-rail  is  decorated  with  three  medal¬ 
lions,  the  central  one  being  about  2§  inches,  and  the 
side  ones  about  2\  inches  in  diameter.  While  the 
oak-work  will  be  left  in  its  natural  state,  or  lightly 
stained  and  either  oiled  or  waxed,  all  the  medallions 
should  be  brilliantly  French-polished  to  produce  the 
required  effect. 

Plate  XIX. — The  design  given  in  this  plate  is  for 
a  hall  arm-chair,  preferably  constructed  of  oak.  The 


PRACTICAL  APPLICATION  107 

front  legs  are  turned,  studded,  and  inlaid  with  circular 
medallions  of  a  simple  treatment.  If  desired,  the 
turned  arm-pieces  may  be  made  separate  from  the 
legs,  and  laminated  with  thin  plates  of  ebony  and 
bands  of  some  warm-coloured  wood,  studded,  as 
indicated.  The  upper  surface  of  the  arms  may  be 
decorated  with  medallions  placed  directly  over  the 
arm-pieces  or  supports.  The  seat-rails  to  be  pattern- 
studded  with  rosewood  and  light  boxwood,  in  the 
manner  shown.  The  upper  portions  of  the  back  legs 
to  be  plain-studded  on  their  fronts  only.  The  knobs 
to  be  turned  separately,  and  laminated  if  considered 
desirable.  The  back  is  purposely  designed,  in  its 
quaint  treatment,  to  effectively  display  five  medallions  : 
these  are  shown  about  3!  inches  in  diameter — a  very 
satisfactory  size— -but  can  be  made  longer  if  desired, 
when  it  will  only  be  necessary  to  increase  the  height 
of  the  back  as  required.  The  top-rail  is  enriched 
with  a  single  medallion,  of  about  4!  inches  in 
diameter,  which  forms  a  crowning  feature  to  the 
system  of  decoration.  As  in  the  case  of  the  chair 
previously  described,  the  oak-work  will,  perhaps,  be 
left  in  its  natural  colour,  or  lightly  stained  and  oiled 
or  waxed :  but  if  brilliancy  of  effect  in  the  decoration 
is  desired,  the  inlaid  medallions  must  be  highly 
polished. 

Plate  XX. — The  design  in  the  present  plate  is 
for  a  hall  or  billiard-room  settee  in  oak.  The  front 


108  DECORATIVE  TURNING 

legs  are  partly  turned,  and  studded  and  inlaid  with 
medallions,  in  the  manner  indicated.  The  seat-rails 
are  ornamented  with  open  pattern-studding  of  ebony 
or  some  dark  wood,  such  as  padouk,  bar-wood,  ruby- 
wood,  or  green-ebony.  The  seven  upright  pieces  of 
the  back  are  shaped  to  receive  their  circular  medal¬ 
lions  in  an  artistic  manner,  but  any  other  shape 
can  be  adopted,  according  to  taste,  so  long  as  it 
favours  the  system  of  decoration.  Two  patterns  only 
are  shown  in  the  design  ;  but  all  the  seven  medallions 
may,  with  advantage,  be  of  different  patterns ;  this, 
however,  is  purely  a  matter  of  taste.  The  slight  in¬ 
troduction  of  plain-studding  in  the  lower  portion  of 
each  upright  is,  perhaps,  sufficient,  but  additional  rows 
can  be  inserted  if  a  greater  richness  is  desired-  The 
top-rail  is  boldly  decorated  with  seven  compound 
medallions :  these  may  be  of  simple  concentric 
patterns,  as  merely  indicated,  or  of  any  degree  of 
elaboration  the  turner  may  prefer  :  the  pattern  shown 
in  the  upper  medallion  in  Plate  XI.  would  be 
highly  suitable  and  quite  effective.  The  decoration 
is  completed  by  the  medallions  inserted  in  the  heads 
of  the  back  legs.  The  mode  of  treating  the  oak- 
work  and  the  medallions  should,  in  the  present  case, 
be  similar  to  that  recommended  for  the  finishing  of 
the  chairs  described  above. 

While  the  designs  given  in  the  five  plates,  above 
commented  on,  show  what  may  be  considered  the 


PRACTICAL  APPLICATION  109 

extreme  use  of  decorative  turning  (excluding  the  process 
of  lamination)  in  the  adornment  of  such  pieces  of 
furniture  as  are  specially  prepared  for  its  more  or  less 
lavish  display,  it  is  right  for  us  to  point  out  the  fact 
that  there  is  no  necessity  for  anything  approaching  so 
elaborate  a  disposition ;  even  one  good  medallio^ 
associated  with  some  plain-  or  pattern-studding,  will 
frequently  be  found  to  effectively  and  artistically 
decorate  a  suitable  piece  of  furniture. 


THE  END 


Printed  by  Ballantyne,  Hanson  &  Co. 
Edinburgh  &=  London 


Plate  I 


✓ 


Plate  II 


Plate  III 


Plate  !V 


Plate  V 


Plate  Vi 


✓ 


Plate  VII 


Plate  VIII 


Plate  IX 


Plate  X 


Plate  Xi 


Plate  XII 


/ 


Plate  XIII 


Plate  XIV 


Plate  XV 


Plate  XVI 


1  I  I  I  I  I  I  I  I  I  L 


✓ 


Plate  XVII 


J  i  i  1  i  ' I 


Plate  XVIII 


I _ i _ l _ i _ i _ i _ I _ i — i — I — i — i — I 


Plate  XIX 


Plate  XX 


